Full text of "Cubeat 2.0 - Manual (Atari ST)"

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Steinbqfq

Cubeat

for the Atari ST

Update/Exchange Pages for Version 2.0

Cubeat

The Update

Cubeat 2.0
The Update

Cubeat

The Update

This package contains a new disk and new pages for the Cubeat operation
manual.

Installing the New Software

The disk contains a complete set of files for Cubeat 2.0. But, you may have
files on your old disks that you want to use with the new version.

Follow the instructions for installing the software for the first time, as
described in Chapter 2. After that, copy any old '’DEF" files or Setup files you
have often used in version 1.0, on to the new program disk (or hard disk), so
that Cubeat is automatically configured the way it was when you used version
1.0. Then save these files again, under the same names, so they don’t have to be
converted from the old format each time they are loaded.

Updating the manual

Some pages in your manual have to be replaced, or added. Open your binder
and simply replace the old pages with the new ones that have the same page
numbers. The old 2-2 is replaced by the new 2-2 and so on.

Good Luck, and many happy recordings!

1-2

Cubeat

► % S V **H V j ■'j ■■1*+^ S V+'^W ■ V*'

IllHilH

1:1^

Table Of Contents

Cubcal

Read This!

1-1

Setting Up and Booling

2-1

Your First Recording

3-1

Overview of Cubeat

4-1

The Track List and the Part Display

5-1

Track List

5-4

Part Display

5-9

Basic Recording

6-1

Before Recording

6-2

Recording ffom a specific point

6-2

Undoing a Recording

6-3

Precount and Preroll

6-4

Recording with manual Punch In

6-4

Replace and Overdub

6-5

Recording more Tracks

6-6

Switching Tracks While Recording

6-7

Recording Different Types of MIDI Messages

6-7

"Tape” Transport and Playback

7-1

Tempo, Time Signature, Click, Master and Sync

7-2

Play

7-3

Stop

7-3

Song Position

7-4

Rewind, Fast Forward and Cueing

7-7

Left and Right Locators

7-8

Automatic Punch In and Out

8-1

Handling Parts

9-1

Parts, MIDI Channels and Outputs

9-2

Selecting Parts

9-4

Creating Parts

9-6

Parts and their Position

9-7

Moving Parts

9-8

Duplicating Parts

9-9

Merging Parts

9-9

Deleting Parts

9-10

Cutting, Copying and Pasting Parts

9-11

Muting Parts

9-12

Changing tlje length of a Part

9-12

Splitting a Part in Two

9-13

Joining Parts Together

9-14

Cubeat

Scrubbing Parts
Triggering Parts
Renaming Parts
Part Info

What Parts will be affected?

The fields and the values
Ghost Parts
Real-time Thru

Cycle and Cycled Recording
Cycle During Playback
Cycled Recording
Cycled Recording Modes
Cycled Recording Functions

The Edit Menu
Undo
Cut
Copy
Paste
Delete
Select All
Info

Note Pad

Quantizing and the Functions Menu
Quantizing
Undoing Quantize
Automatic Quantize
The different types of Quantizing
Analytic Quantize
Match Quantize
Freeze Quantize
Other Functions
Legato
Length size
Fixed Length
Delete Cont. Data
Delete Doubles
Reduce Cont. Data
Transpose/Velocity

9-15

9-17

9-22

9- 23

10 - 1
10-2
10-3
10-4

10- 5

11 - 1
11-2
11-3
11-4
11-4
11-4
11-5
11-5

11- 5

12 - 1
12-2
12-3
12-4
12-4
12-6
12-7
12-9
12-9
12-10
12-10
12-10
12-11
12-11
12-11
12-12

Cubcai

The Structure Menu 13-1

Create Track 13-2

Global Cut 13-2

Global Insert 13-2

Global Split 13-3

Copy Range 13-3

Remix Track 13-3

Mix Down 13-4

Create Part 13-5

Repeat ' 13-5

Cut Notes 13-6

Groups 13-7

Mute and Solo 14-1

Mute 14-2

Solo 14-2

Preprogramming Mutes 14-3

Recording Mutes and Solo 14-3

Ed Solo 14-5

The Master Track 15-1

The Options Menu 16-1

Chase Events 16-2

Follow Song 16-3

Reset on Stop 16-3

Tempo Recording 16-4

The Record Dialog box and Multi Recording 16-5

Part Appearance 16-11

MIDI Definition 16-12

Metronome 16-18

Synchronization 16-20

Human Sync 16-25

Remote Control 16-29

Reset Devices 16-30

Edit Windows in General 17-1

Ed Solo 17-5

Cutting, Copying and Pasting Events 17-6

Undo 17-7

Key Edit \ 18-1

The Key Edit Window's Parts 18-3

Mouse, Quantize and Snap 18-4

4 Cubcal

The notes on the Grid 18-5

Selecting Notes 18-5

Moving Around and the Goto Menu | 18-6

The Info Line 18-7

Moving Notes 18-8

Duplicating Notes 18-9

Creating New Notes 18-9

Changing the Length of a Note 18-11

Deleting Notes 18-11

Monitoring notes 18-12

Chord display ^ 18-12

The Loop 18-13

Quantize ; 18-14

The Pop-Up Functions Menu 18-15

Changes via MIDI 18-17

Step Programming 18-18

The Controller Display 18-29

Drum Edit 18b-l

Theory 18b-3

Entering Drum Edit 18b-8

The Drum Edit Window's Parts 18b-9

Setting Up the Drum Map 18b-10

Mouse, Quantize and Snap 18b-14

The notes on the Grid 18b-15

Selecting Notes 18b-16

Moving Around and the Goto Menu 18b-16

The Info Line 18b-17

Moving Notes 18b-18

Duplicating Notes 18b-19

Creating New Notes 18b-19

Deleting Notes ' 18b-21

Monitoring notes 18b-21

The Loop 18b-22

Quantize 18b-23

The Pop-Up Functions Menu 18b-25

Changes via MIDI 18b-27

Step Programming 18b-28

The Controller Display 18b-29

Cubcat

Grid Edit 19-1

The Grid Edit Window's Parts 19-4

Mouse, Quantize and Snap 19-4

The Events In the List 19-5

Selecting Events 19-6

Moving Around and the Goto Menu 19-7

Display Filters 19-7

The Columns and the Different Types of Events 19-8

Moving Events 19-11

Duplicating Events 19-12

Creating New Events 19-12

Changing the Length of a Note 19-14

Changing Note Velocity 19-15

Changing other Events Graphically 19-15

Deleting Events 19-15

Monitoring notes 19-16

The Loop 19-16

The Mask 19-16

Quantize 19-17

The Pop-Up Functions Menu 19-17

Changes via MIDI and Step Programming 19-17

Logical Edit 20-1

Theory 20-3

Setting up Conditions 20-4

Setting Up Operations 20-7

Results ‘i 20-9

Dyn 20-9

Performing tihe Edits 20-10

The Window menu ‘ 21-1

Tile Windows 21-2

Tile Editors 21-2

Arrange Window List 21 -2

The Desk Menu 22-1

The File Menu 23-1

Def.Arr, Set and All 23-2

New I 23-3

Open 23-3

Save 23-6

Close 23-8

^ Cubcat

Delete Files

23-8

Format Disk

23-8

Preferences

1 23-9

Quit

23-9

Keyboard Commands

24-1

Numeric Keypad

24-2

Typewriter Keyboard

24-2

Index

25-1

Cubcal

I ■'

Cubeat

Read This!

Cubcat

Read This!

There are some pitfalls we want you to make sure to avoid before
starting to work with Cubeat.

Computer

This program runs on any Atari ST computer with at least one megabyte of
RAM and TOS in ROM. Cubeat can not be started from an AUTO folder.

Monitor

This program works with Atari monochrome monitors, like the 12" SM-124
or SM-125 or the 19" SM-194. Other monochrome monitors may work.
Color monitors; are not supported.

Disk

The program comes on a double sided disk. This disk is not copy protected.
You might not need all files on the original program disk, see page 2-2.

backups

The first thing you do, tiike a backup of the original program disk that comes
with the package. You can copy the disk to another 3.5" floppy or to a hard
disk. If in doubt, consult you Atari ST Operation Manual. The disk is not
copy protected and the copy will run if you have your Key (the plastic
cartridge that comes with the program) inserted into the ROM port.

The Key

To be able to run the program you must have the Key inserted. The key is
the verification to that you have actually bought the program. If you loose it
you have lost your program!

Never insert or remove the key with power turned on on the computer!
Make sure you don't put the key in upside down!

Saving

If you do not use a hard disk, we recommend that you save your work on a
separate disk, not on the program disk. Program crashes have always
happened with computers, and a major crash will probably result in that the
material resident in memory is lost forever. The only way to insure yourself
against disasters is to save regularly while working or to use the Autosave
function. You may run the program of a R/\M-disk, but we can't guarantee
full functionality. Save your work regularly to ordinary disks, since RAM-

1-2

Cubeat

Read This!

disks arc erased at power-down or after a crash. Disks (even hard disks) can
get damaged, so making backups of your files is a must!

Cubeat

Cubcat is completely file compatible with Cubase, both on the Atari ST and
on the Apple Macintosh.

The ST’s MIDI Thru and MIDI cables

The Atnri ST's MIDI Out port is non-standard. It uses pins 1 and 3 in the
connector as a MIDI Thru port. Unfortunately some MIDI cable manufactu¬
rers shortcut these pins with the normal ones. This results in a hardware
MIDI Thru function that can’t be disabled. Make sure the MIDI cables you
use arc of the right kind!

Accessories

You can use Cubcat with Accessory programs that follow the programming
conventions for the Atari ST. But beware, not all Accessories follow the
standard perfectly.

Steinberg can in no way guarantee the use of Cubeat together with any
certain Accessory or other type of utility program.

’’Read Me” Files

There might be a file called "Read Me" on any of the disks that comes with
the program. This is a text file which describes any changes or additions to
the program that arc not stated in the manual. Double click on this file.
Select one of the two options in the dialog box, to either display the text on
the screen or to print it out on a printer.

Note Off Controllers

Some Roland synthesizers send a a MIDI message called All Notes Off as
soon as you release all keys on the keyboard. This may lead to very confu¬
sing results when the same synth is used to play back music from more than
one Track. If you experience this problem you should filter out this message
using the Controller filters in the MIDI Definition dialog box.

Running Status

There is a way to make MIDI transmission more compact, called Running
Status. This was not a part of MIDI from the beginning so not all units can

Cubcal

2-2

Rend I his!

accept this data compression method. If you experience problems with a
Korg DDDl or DDD5, an Ensoniq Mirage, a Sequential Prophet T8 or a
very old Yamaha DX7 you should make sure that you are not transmitting
under Running Status from your computer. Check the setting in die MIDI
Definition dialog box. It will be obvious if you have this problem since die
instrument will htirdly play back sequenced material at all.

SMP-24

Users of the Steinberg SMP-24 must have software version 1.6 or higher to
make diis unit work with Cubeat. If you have an older software version,
contact your dealer for an upgrade.

I'he Operation manual

This operation manual begins with a tutorial section showing you how to get
started with Cubeat. After that follows descriptions of all aspects of the
program. The manual is done so that you don’t have to read the whole text,
only the sections that interest you. But, you should get familiar with all basic
operations as they are described in this book. In the end of the manual you
will find an Index so that you can look up any function or feature that you
need to know more about. In the back you also find a list of all computer
keyboard commands. Whenever the text in the manual refers to a key on the
computer keyboard, the key's name is shown in brackets, like diis: [Return].

1-4

Cubcal

Setting Up and Booting

Cubcal

Setting Up and Booting

If your Atari ST isn't already set up as it should be, do so, following the
instructions in tlie computer's Operation Manual. You should also be
reasonably familiar witli the computer and operations like handling disks
and using the mouse (clicking, selecting, double-clicking and dragging).

The flics on the disk

There are several files on the program disk. You might not need all of them,
but it is important to have the right files in the right folders.

Before you .start rearranging files on the Program disk or on a hard
disk, make sure that you have a backup copy of the original program
disk as it was when the program came from the factory. You might
need this at a later stage, for e.vample when you buy additional hard¬
ware.

CUBEAT.PRG is of course the program itself. To be able to run the pro¬
gram you also need two other folders called CUBEAT.DAT and MROS.

The CUBEAT.DAT folder contains three resource files called RES 1-3.RSC
and should not be touched. The MROS folder contains MROS itself and the
drivers for Devices you can use. If you for instance have a Steinberg
SMP-24, you need to have a Tile called SMP24.DRV in your MROS folder.
And if you have a MIDEX or MIDEX-i- a file called something like
MIDEX.DRV must be put here, and so on.

On the disk you find a program called INSTALL.PRG which also needs a
file called INSTALL.RSC. This program is used to install the driver files
you need. On your working copy of the Cubeat disk, double click on
INSTALL.PRG and a dialog box appears where you can click on the drivers
in the MROS folder to activate or deactivate each one. Activated drivers are
shown as white text on black. When you arc ready, click on OK, and you
return to the desktop. What actually happens is that deactivated drivers have
their extension changed from .DRV to .DR (the "V" is dropped), so that
Cubeat doesn't recognise them on startup. When using a hard disk, make
sure the INSTALL.PRG and MROS folders arc on the same level.

Please remember that no matter how many M>ROS programs you boot, it is
only the first M^ROS (and the drivers in its folder) that arc loaded. All
M'ROS files on other program disks arc ignored for as long as one M*ROS is

9 —. 9 Cubcal

Setting Up and Rooting

resident in the computers memory.

You can remove any driver file you don’t need from your working copy of
the program disk, or from a hard disk. This will save you memory both in
the computer's RAM when you are running Cubeat, and on the disk.

In the CUBEAT.DAT folder you will also find two screen files,
QUICK.SCR and VDI.SCR. "Quick" is for the standard SM-124 and "VDI"
for large screen monitors. The program will detect which one to use, on
startup, so you can safely keep both there.

Another file is called SWITCHER.PRG and is the M-ROS Switcher pro¬
gram. It needs the files SWITCHER.RSC and S WITCHER.SET. If you
want to use Cubeat with the Switcher, read the M*ROS Switcher Chapter at
the end of this manual. If you don’t plan to use it, you may remove the all
three files from your working copy of the program disk, or from your hard
disk.

Yet another file is called SATELIT.AC and this is the Satellite accessory. It
can not be used as it is, you have to activate it using the INSTALL.PRG.
Proceed as with the drivers. When you click on the Satellite button in the
lower right comer a dialog box asks you if you also want to copy Satellite to
drive C, a hard disk (if you have one). The Satellite Accessory can also be
converted to a program by changing its extension to .PRG. More on this in
the Satellite chapter at the end of this manual.

On the program disk you will also find a number of files called
DEF.something. Although not absolutely necessary, these files make Cubeat
start with some standard settings for different parameters. And finally, there
is a READ.ME text-file which might contain written information about
changes made to the program since this manual was written. This file is of
course not needed to run Cubeat.

Cubeat

2-3

Setting U p and Booting

Setting Up and Booting

The description below assumes that you are running the program off a

floppy, not a hard disk, and that you have already used the INSTALL.PRG

program to activate the right driver files, as described earlier in this chapter.

• Make sure that computer's power is turned off!

• Insert the Key, the plastic cartridge that comes with the program in
the cartridge port of the computer. Make sure it is not upside down.

• If you are using any extra Device, like the Steinberg SMP-24 or
TimeLock, with the computer, connect this also. For more
information, consult each unit’s operation manual. Depending on the
Device, you may want to use other MIDI In and Outputs than the
STs own. Since this is an option, the following text refers to the
computer’s built in MIDI connectors.

• Connect the MIDI Out of the keyboard (or other MIDI device) you
plan to use for recording, to the MIDI In of the computer.

• Connect the MIDI Out of the computer to the MIDI In of the first
instrument. Then connect the MIDI Thru of that instrument to the
MIDI in of the next device. Continue to chain the units in this way
until they are all connected to the computer. If you plan to use more
than three sound sources we recommend that you use a separate
MIDI Thru box instead of the Thru jacks on each unit. If more than
one instrument doesn't have a MIDI Thru, you will have to get a
MIDI Thru box.

2-4

Cubeat

Setting Up and Booting

Make all audio connections, turn on the instruments and verify Uiat
they sound (if possible).

Set each instrument to receive on a certain MIDI Channel. Or if you
have multi-timbral instruments, set each Sound (Timbre, Part,
Program, Patch) to receive on a certain MIDI Channel.

Pui your working copy of the program disk in the disk drive, and turn
on the computer. The screen should come alive, showing the ST
desktop.

f “.'■

FL*PFV DISK CUBEfiT.FRG

• Double click on the FLOPPY DISK A icon (if its window isn't
already open). A window appears showing the files on the disk.

• Double click on tlic Cubcat program icon. The desktop should
immediately disappear and after a while an Arrange window with die
title DEF.ARR should be displayed.

Before you go on, make sure that your MIDI Thru setting is correct. If
you use a .synth for recording, set this to Local Off if possible, and
Cubeat to Thru On (in the MIDI Definition Dialog box on the Options

Cubcat

2-5

Setting Up and booting

menu). If you use a separate MIDI device like a MIDI keyboard with no
sounding capabilities, a guitar to MIDI converter with no built in synth
or similar, Cubeat should also be set to Thru On. If you use a synth or
similar that can’t be set to Local OIT, the options are a little bit more
complicated due to the nature of MIDI. More information is found on
page 16-15.

• Play your MIDI keyboard or other device. Check the "I" box on the
Transport Bar so that you arc sure that Cubeat receives MIDI data. If
you have Thru activated, the "O" box just below it should indicate
Output of data also.

I—I I—I

ITic 1 and O symbols on the Transport Bar
indicate MIDI In and Out acliviiy

2-6

Cubeat

Your First Recording

This chapter gives you a short introduction to how recording is done in an
Arrange window in Cubeat. This text docs not give you all the details. If you
run into problems, look up each function in the relevant chapter, oi check
the index.

This text assumes that you have already followed the steps in the "Setting
Up and Booting" chapter, that you are using the Atari's built in MIDI
connectors only, and that you have no problems with the MIDI Thru selling.
You should have the DEF. ARR Arrangement that comes on the program
disk displayed on the screen. This gets automatically loaded when you start
the program. This text also assumes that you have one or more Ml DI
instrumenis, each set to one MIDI Channel, or that you have a mullilimbral
instrument (or several), with each sound set to one MIDI Channel.

• Play your keyboard and check the I box on the transport bar. It
should Bicker to indicate that Cubeat is receiving data. If you have
Thru turned On, the O box flickers along, indicating outgoing data.

• On the left side of the screen you have the Track List. It now displays
16 Tracks set to send on MIDI Channel 1 to 16. Use the left
(increase) and right (decrease) mouse button to set the first Track to
the right MIDI Channel by changing the value in in the CHN column.

TRRCK

INSTRUMENT

CHN 1

■

Track 1

Ijvl

Track 2

2^^

Track 3

Track 4

T rark S

Once you got the selling right, double click in the INSTRUMENT
column on that first Track. A small box opens up where you can
enter a name for the sound or instrument you use. Do this and press
[Return] when you are finished.

3-2

Cubcal

Your First Recording

If you want to change the tempo, locate the Tempo box on the
Transport Bar, and change the value using the left and right mouse
button.

Click on Record or press [*] on the computer keyboard.

Rewind

Fast Forward

After the two bar count-in, start playing for as long as you wish.
When you are finished, click on the Stop button or press [0] on the
numeric part of the computer keyboard. A black rectangle should be
displayed on the first Track. This is a (selected) Part, a recording on a
Track. A Part can be dragged around on the screen. If you hold down
lAltemate] while dragging you are making copies (duplicating).

Press [01 on the numeric part of the computer keyboard twice so tliat
you return to the beginning of the Song.

Click on Play or press [Enter] to play it back. If you wish, you can
use Rewind or Fast Forward at any time to move back and forth
without stopping first. If you decide to Stop first, you can use Fast
Forward with the right mouse button to hear the music played back in
a faster tempo (cueing).

Cubcal

3-3

Yo ur First Recording

After playing back the Track, return to the beginning of the Song
again.

Select a new Track by clicking on it.

Tr ac'j< 8

T rariA Q

Set it to the MIDI Channel for the next sound you wish to record
witli, and enter an Instrument name for that also.

Record on the second Track just as with the first.

If you make a mistake somewhere there are many ways to go, but we
will only suggest two of them here. Either just press [Undo] on the
computer keyboard to make the last recording undone (you can even
"undo the undo" if you like). Or if you want to "repair" a section of
your recording, use the Rewind and Fast Forward buttons to move to
some point before that section. To tell Cubeat that you want to
Replace music rather than Overdub on the same Track, click once on
the Record Mode switch on the Transport bar, so that it changes to
REPLACE. Play back the music. At any time, click on Record or
press [*] to enter recording. Click again to exit record mode without
stopping playback. Rewind again if you need to (in Play mode) and
Punch in and out as many times as you wish.

I^OOERDUB J

[replace I

REC MODE

Click on the Record Mode switch once so that you put Cubeat back
in Overdub mode.

If you want to Quantize a recording, (remember that you don't have
to stop playback or even recording to do this) first set the right
Quantize value. There is a box at the top of the screen labelled
Quantize. If you press the mouse button inside that box, a menu falls
down where you can select a Quantize value. This value is valid until
you change it.

3-4

Cubcai

Your First Recording;

OUMh J’ IZE

CVCLE

64T

6A 6A.

32T

32 32.

16T

16.

Now select a Part by clicking on it. Then pull down the Functions
menu and select Over Quantize or press [Q] on the computer
keyboard. You can select several Parts to be Quantized at the same
time if you hold down [Shift] while clicking on them.

Continue to record more Tracks. If you want to use an instrument or
a sound that has been used before, press the left mouse button in the
Instrument column, and select that instrument/sound from the menu
that falls down. The Track is then automatically set to the right MIDI
Channel.

INSTRUMENT

CHN

Mist ring

EBdruws

DK7

Mlst ring
Mlpiano
MKS70

If you want to make a Track send out an another MIDI Channel, just
change the CHN value for that Track.

Cubcai

3-5

Your First Recording

If you want recording with a counl-in (Prccounl) lo start from some
other point than the beginning, click in the Bar Display (above the
Parts) at that position, using the left mouse button. What you do is to
change the setting of the Left Locator, and the new setting is shown
numerically in another box on the Transport Bar.

1. 0

LEFT

LOCATOR

The Parts that arc created can be moved freely between Tracks and
duplicated if you wish. They can also be split, joined, lengthened
shortened, grouped and much more. And all this while the music is
playing! If you press the right mouse button somewhere in the Part
Display, a Tool Box appears that you might want to experiment with.
But you will learn more about this in the rest of the manual.

If you want to delete one or more Paris, select them as with
Quantizing and press [Delete] on the computer keyboard.

When you arc happy with your piece, pull down the file menu and
select Save (no, you don't have to stop playback to Save). Click on
"Arrangement" in the dialog box that comes up. Enter a name and
save to d isk as in most Atari programs.

Select New from the File menu to get a new Arrangement window.
This has no Tracks yet.

Double-click anywhere in the Track column, and a new Track
appears. You can create as many Tracks as you wish in this way.

This time you don't have to create Instruments, they arc already there
when you press the left mouse button in the Instrument column.

Select an instrument for the first Track you wish to record on, and
select that Track by clicking on its name.

3-6

Cubcat

Your First Rccordint;

You arc now ready lo try the absolute fastest way of making up
grooves or short sections of ;nusic you ever experienced—cycled
recording in Cubcat. This time you will record four bars, but the
Cycle could be any length. Cheek the Left and Right Locator boxes
on the Transport Bar, they should say 1.1.0 and 5.1.0. If they don't,
press the function key [FI] on the computer keyboard.

Click on Cycle on the Transport bar.

• Click oil Record.

It is unnecessary to deactivate recording at any time during the follo¬
wing procedure. You can deactivate recording at any time by clicking
on the Record button, if you want to, but you don't have to!

• Start playing after the two bar Precount. The music Cycles over the
four bars and you can add as much as you want on each lap.

• When you so wish, select a new Track and record on that. Use the
INSTRUMENT column to make each Track output to the right
sound/insirument. If you need to, make up more Tracks by double¬
clicking.

• You can Quantize, move Parts and duplicate as you wish and also
select new instruments or MIDI Channels for each Track at any time.

• If you make a mistake, press [B] to delete the whole recording on
that Track or [V] to just delete the last lap you played anything on.
And if you come up with anything good, remember to save it to disk!

Following this short description, you have of course barely scratched the
surface of Cubeat's power. But you have probably gotten a feel for how
simple it is to use. Continue to experiment and try functions out as it suits
you. Some things you will have to read in the manual about, and other
things will be obvious from the start. But the way this program works, your
intuition will always put you on the right track. Good Luck!

Cubcal

3-7

Your First Recording

3-8

Cubcal

Overview of Cubeat

* ■ -: vl"'* V :’;^<4 ■: :/ ;

UBiiii

Overview of Cubeat

Cubeal

Overview of Cubeat

The screen

Cubeat is based on the use of windows. First there is the Arrange window.
This shows you the overall structure of the piece. Then there are several Edit
windows: Key, Grid and Drum. These are used for editing music. Any
changes done in one of the windows are automatically shown in all win¬
dows. This very powerful and flexible window handling makes an invest¬
ment in a large screen monitor (Eg Atari SM-194) for use with Cubeat,
worthwhile.

Regardless of which window you use, there are two things that arc always
on the screen. The first is the Menu bar at the top and the second is the
Transport bar at the bottom. The Menu bar shows you all the menus used for
selecting functions and commands. Some of these open up other, smaller
windows, called Dialog Boxes. The transport bar holds all the tape recorder-
like functions, the counters and a few buttons for special functions.

Timing resolution

The resolution of the program is 192 fractions (or ticks) per quarter note,
which means 768 ticks per bar in 4/4. This is eight times as good as MIDI
clock, and a higher resolution wouldn’t make much sense for an application
like this, since MIDI still doesn't handle parallel data. With MIDI, a chord
isn't really a chord, as you may know, it is a very, very tight arpeggio. Here
are some tick values and their corresponding note values.

No of ticks

Note Value

192

One quarter note

One eighth note

One sixteenth note

One sixteenth note triplet

One thirty-second note

One thirty-second note triplet

One sixty-fourth note

M»ROS, which is the software foundation for Cubeat, actually has twice the
resolution, but this extreme precision is only used when handling incoming
time code and calculating tempi.

^ _2 Cubcal

Overview of Cubeat

Real Time

Cubeat is a true real-time program. It has sophisticated multitasking proce¬
dures that let you do almost anything (like loading from, and saving to disk)
without interrupting the music.

Generally, don't turn off playback or recording just because you want
to try a command or a function, just do it!

In some instances the notes sounding at the moment have to be cut off, but
timing is never affected. '

Undo

Cubeat has extensive Undo functions for all important parts of the program,
and Quantizing can be undone at any time, all the way down to recording
resolution.

Structure

Parts

When you record something you are creating a Part. This is the smallest
element of music you work with (even though you can work on a section of
a Part).

Tracks

Recording is done on one or more Tracks. You create as luany Tracks as
you need (up to 64), as you go along. Nonnally, you record on one Track at
a time, but you can also record on four Tracks at the same time (Multi
Recording). A Part isn't locked to a Track, you can move a Part from one
Track to another.

Groups

Another powerful feature of Parts is that they can be grouped. By grouping
several Parts you can handle them as one entity. You might for instance
group the trumpet, trombone and sax parts in the chorus, and call that group

Cubeat

4-3

Overview of Cubeat

"Brass". This "Brass" Group can then be handled as if it was one single Part.
You can also turn all different sections of your song (intro, verse...) into one
Group each, and thereby easily rearrange your music.

"Tape” Transport

Playback, recording and winding in itself is very tape recorder like. Play¬
back starts from anywhere on the "tape", recording and overdubbing starts
from anywhere or with automatic or manual punch-in and -out from any
specified point. ^

Arrange Window

All the Parts created are put together into an arrangement in the Arrange
window. You can have up to 16 Arrangements open at the same time (but
only seven of them visible in windows). Actually, arrangements can be
different versions of the same piece of music or completely different pieces
or you can have different sections of one song in different Arrange win¬
dows, it doesn't matter.

Song

All open Arrange windows can be saved as a Song. A Song is the largest
entity you can work with. It is a set of Arrange windows, all the Groups that
go with them, the Setup and the Drum Map. Your use of the Song feature
depends on how you work. If you use several Arrange windows to make up
sections of your music and handle these as Groups, you will use the Song as
just that, a song. If you complete a piece of music in one Arrange window
you can use the Song feature to handle a set of songs or variations on one
piece of music.

Setup j

A special type of disk file called Setup allows you to store the program's
settings as they are in a given moment.

Edit Windows

The three major Edit-windows are different ways of looking at your music.

□ Grid Edit is a list of all "events" or musical happenings. It also has a
graphic display.

□ Key Edit allpws you to look upon your music as it is played on a
keyboard.

□ Drum Edit is of course best suited for creating drum and percussion
parts. It allows you to create Drum Maps with setups for whatever

Cubeal

Overview of Cubeat

drum machine, sampler or other drum sound source you use.

All three have powerful commands for major changes and detailed fine
tuning of notes, and other MIDI events. Recording and payback can be
done anywhere and all windows communicate and instantly show changes
made in any other window. All editing can be carried out while the music is
playing.

There is also a fourth Editor, Logical Edit which allows you to make
changes based on mathematical criteria. On the Edit menu you will also find
the Notepad, where you can make text notes about your Arrangement

Mouse and keyboard

Mousing around is done as in most Atari programs. You Click, Double-
Click, Select, Drag and Shift-Click Just as usual. Menus and file boxes are
handled in a standard way. But there are a few things you should know.

Most buttons normally change between On (white text on black) and Off
(black text on white) when you click on them. Other buttons change bet¬
ween two values.

Value fields can sometimes be changed one numeral at a time. Which
numeral depends on where you click in the field. The right mouse button
increases the value and the left decreases it If you hold down [Shift] while
clicking, the value changes in larger steps (many times steps of ten).

Most value fields can also be double clicked upon. A small dialog box
appears where you can type in the value. Finish by pressing [Return].

Inside the windows, the right mouse button can open up a’Toolbox. If you
keep holding the right button down, you can select one of the tools. This
tool is then used with the left mouse button.

A quick way to select the "normai’ tool (always in the upper left corner of
the Toolbox) is to just press the right mouse button once.

The keyboard is normally not used for typing. Instead it doubles up for the
mouse by using different keys for different commands. A list of all keyboard
commands is found on page 24-1. Apple Macintosh users will feel at home

Cubeal 4 — 5

Overview of Cubeat

since Cubeat makes heavy use of the Control key as a duplicate for the
Macintosh Command key. Standard functions like for example Save, Cut,
Copy and Paste even use the same keys as on the Macintosh.

When the text says something like "press [ControlJ-[T]" this means that you
should hold down the Control key on the Atari keyboard and press T once,
when it says [F5] or any other figure, this refers to the function keys above
the typewriter keyboard.

Naming things, like|Parls and Tracks, is always done in the same way. By
clicking or double-clicking on the item you want to rename, a small box
opens up. Either use the [Backspace] key to delete one character at at a
time or use the [Esc] Key to delete all characters in one go. Then type in the
new name. You can also use the left and right cursor keys ([<-] and [->]) on
the computer keyboard to move around inside the name and insert text.
When you have it right, press [Return] or [Enter] to close the box.

Windows

It is in the windows that the action takes place. There are Arrange windows.
Key Edit windows. Grid Edit windows and so on. You can have several
Arrange windows open at the same time and thereby work on several
sections of a song or even several complete songs at the same time. You
open saved pieces of music or create new Arrange windows by using the
File menu. You then edit parts of the music that exist in the Arrange window
(or create new music) by opening Edit windows.

The maximum number of open windows at any time is seven.

Cubeat’s windows asne not standard Atari windows, although most techni¬
ques used for handling regular windows on the ST and the Apple Macintosh
apply.

On the top is a black bar with some text or f igures in the middle. This is the
Title Bar. It can be used to move the window around on the screen. This is

^ ^ Cubeat

Ov erview o f Ciibeat

done by pressing and holding either mouse button with the pointer on the
title bar. While holding the button down, move the mouse. An outline of the
window is moved. When you release the mouse, the window is redrawn at
the new location.

In the lower right corner is the Sizing Box. When you press and drag with
the pointer in this box, you change the size of the window.

In the upper right comer is the .i.Full Box;. When you click once in this box
the window changes to full size. When you click again it changes to the size
last set with the sizing box. Each time you click, it switches between these
two possibilities.

In the upper left corner you find either a Close box or a Keep and a Cancel
box. When you click on either, the window closes. If you have the options
of Keeping or Cancelling, this means that the changes you have made up to
now have only been temporary, you may decide to Cancel all changes that
have been made since you last opened the window, or to Keep them.

CLOSE B KEEP BcftMCELl

On the lower and right sides of the windows you find the scroll bars. They
have two purposes: scrolling and changing magnification (zoom factor).

When you click the left mouse button on any of the arrows, the content of
the window is moved one step in that direction (upwards, downwards and so
forth). If you hold the mouse button down, the window scrolls continuously.

When you click or hold the left mouse button in the grey area, the window
is scrolled in larger steps.

You can drag the white scroll box up and down in the scroll bar. If you do
this with the left mouse button, the window is scrolled to the relative
position of the scroll box, when you release the mouse.

If the whole scroll bar is white, this is an indication that there is nothing
more to sec in that direction. If for example the horizontal scroll bar in an
Editor window is white, you can be sure that all the music that can be edited
already fits into the window horizontally, there is no point in scrolling right
or left.

Cubcai A n

Overview of Ciibeat

When you operate the scroll bar with the right mouse button, you change the
magnification of the window instead of scrolling it. This way you can zoom
in on fine details or zoom out to get a good overview of what is happening.
You can magnify/rcducc both horizontally and vertically. The right/upper
arrow is used for magnification and the Icft/lower for reduction. You can
click in the grey area and you can drag the white scroll box, but it doesn't
move when you use the right mouse button to change the magnification.

You will find yourself having several windows open at the same time.
Maybe you will have one or a couple of Arrange windows open and one or
more Editors.

The active window is die frontmost one. Only one window is active at at
time and it is the only one with a black title bar. All other windows (the
inactive ones) have white title bars.

ARRANGE - IHACTIUE.ARR

An Active and an Inactive Arrange Window.

To make a window active, just click on any part of it. If you don't see it. Just
move or resize the windows that arc on top of it.

Dialog boxes

When you select a function from a menu, sometimes a dialog box appears.
This is also a window of a type, but it can't be moved or resized. After you
have input the necessary information using the mouse you close the dialog
box by clicking on a button called Exit or by pressing [Return] on the
computer keyboard. In most eases the [Esc] key doubles up for the Cancel
button (if there is any) in the dialog boxes.

4-8

Cubcal

Overview of Cuheat

You can use ihc functions on the Transport Bar (and even many of the
computer keyboard commands for them) even when you have a dialog box
open.

Pop-Up Menus

Throughout the program you will select values from pop-up menus. These
differ a bit from the regular "menu bar menus". Pop-up menus may appear
anywhere in a window, and not all are on a menu bar (but some are). They
also have opposite behaviour, compared to the regular ST menus. When you
press the mouse button they fall down, and as soon as you release the mouse
button they disappear. But, selecting is done identically from all menus,
pop-up or regular.

Terminology

In this chapter we have defined some words that are used throughout this
manual and in the program. Remember that key words always begin with a
capital letter. "Part" is a special Cubeat term, but "part" is just the word
"part". Here's a recapitulation:

Parts The smallest clcmcnis of music. A bit like a Pattern in other

programs.

Tracks Recording is always done on a Track. A Part is a section of
music on a Track.

Events The contents of a Part, i.e. MIDI messages recorded, like
notes, controllers, after touch and so on.

Arrange The Arrange window has Tracks and contains Parts. A piece
of music is organized in the Arrange window. This can be a
complete piece or Just a section like a verse or an intro.
Groups You can group Parts in an Arrange window so that they can
be handled as one entity. The set of Groups created are
"shared" by all Arrange windows.

Cubeat

4-9

Overview of Cubeat

(iroup Part

(iroup Track

Sons

Setup

When you have created a Group you can use the whole
Group as if it was one single Part. This type of Pari is
called a Group Part.

Group Parts are pul on special Tracks called Group
Tracks. These Tracks play back Group Parts only, and
arc always displayed at the top of the Track List.

All open Arrange windows and all Groups can be
saved together as a Song. In this manual a distinction is
made between "song" and "Song" (with a capital "S"),
where "song" is a regular piece of music and "Song" is
a set of Arrange windows and Groups as described
above.

A file with all the Programs settings as you want to
have them when you start working.

4 - 10

Cubeat

The Track List and the Part Display

The Track List and
the Part Display

Cubeal

The Track List and the Part Display

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5-2

Cubcat

TEMPO

The Track List and the Part Display

When you first start Cubcat, an Arrange window with the name Def Song is
opened. It has a number of Tracks in it and some other "default settings".

The title bar has the Close and Full boxes to the left and right respectively
and in the middle you find the text "ARRANGE - DEF. ARR. The name
(DeO will change when you save the window the first time.

The Arrange window is divided into two major parts, the Track list to the
left and the Part Display to the right. There is a vertical double line drawn
between them, and this line can be moved by dragging. When you move the
pointer over the line the pointer changes into a hand, indicating that you can
drag the border. When you move the border fully to the left, the only thing
you see of the Track list is the mute column. When you move it all the way
to the right you see all the columns in the Track List

Above both the Track List and the Part Display are a few fields for functions
related to the Arrange window.

You can scroll the Arrange window using the left mouse button and the
scroll bars.

You can change the magnification by using the right mouse button and the
scroll bars.

You can have seven Arrange windows open at the same time. Either
create new ones by selecting New from the File menu or open an exi¬
sting one using the Open command, also on the File menu. You also
have the option of putting Arrangements up on the Windows menu
when you close them (click KEEP in the dialog box). This means that
the Arrangement is active as the others, but its window isn’t displayed
on the screen.You can have sixteen Arrangements active like this at the
same time, but as said above, only seven of them displayed in windows.

Having several Arrange windows open at the same time will let you try out
variations on an arrangement by using the Cut, Copy and Paste commands
to move musical parts from one window to another. It will also allow you to
make the most out of the Group feature.

Cubeat

5-3

The Track List and the Part Display

Track List

Creating Tracks

Recording is always done on a Track. You can have up to sixty-four Tracks
in each Arrange window and you can add and delete Tracks as needed.

There are iliree ways to create a Track:

• Double click in an empty (white) part of the Track List

• Select Create Track from the Siructure menu.

• Press [Control]-[T] on the computer keyboard.

The first Track gets the name Track 1. This Track is set to output on the
Atari MIDI port and MIDI Channel 1.

More Tracks arc created in the same way.

Selecting Tracks

You select a Track by Clicking on its name (in the TRACK column) or by
stepping through the Tracks with the [T] and [i] keys on the computer
keyboard. The selected Track is inverted (white on black) and is called the
"active Track".

Moving Tracks

You can also rearrange the Tracks by dragging the names in the list. When
you release the mouse button the Track is inserted in the list at the new
position.

All the Parts on the Track are moved with the Track.

5-4

Cubcal

The Track List and the Part Display

Duplicating Tracks

You may also make a copy of a Track and all Parts on ithliis is done
exactly as when moving a Track. The only difference is that you hold down
[Alternate] on the computer keyboard while dragging.

Deleting Tracks

To delete a Track, first make sure that no Part is selecte4 (inverted). This is
to make sure that what you Delete will be a Track, not a Part. If you want to
check this before you proceed, pull down the Edit menu: One of the items
should say Delete Track (not Delete Parts). From this point there are several
ways to go:

□ Press [Backspace] on the computer keyboard.

□ Press [Delete] on the computer keyboard.

□ Use Delete Track on the Edit menu.

The Track columns

TRRCK

INSTRUMENT

CNN

OUTPUT

MRP

Kit

EBdrURS

RTRRI

■■

Hats

E3drums

RTRRI

ON 1

Cymba1s

EBdruMS

RTRRI

Bass

DX7

RTRRI

OFF

UersePad

M 1 s t ri

RTRRI

OFF

UersePia

M1p L ano

RTRRI

OFF

Flute

MKS70

RTRRI 1

OFF

Activity

The first column is the Activity display (A). This shows if any notes are
sent out from the Track at the moment. The width of each bar represents
velocity.

The second column is Mute (M). This is described on page 14-2.

Cubeai

5-5

The Track List and the Part Display

Track

The third is the Track Name. To enter or change a name, double click in this
field for the relevant Track. A box opens where you can edit the name as
described on page 4-6.

The fourth is Instrument, and we will get back to this.

Chn

The fifth column is the MIDI Channel. MIDI Channels are a system for
directing the output of music and other data to certain instruments, to
individual sounds in one instrument, MIDI equipped effect units and so on.

The MIDI Channel set in this column is the one the Track is sending out on.
This means that if you select a Track which is set to MIDI Channel 4, all
recording that is done on this Track will create Parts that are set to send out
on MIDI Channel 4.

If you later move these Parts to another Track they will be set to send out on
the MIDI Channel set for that Track. You can see the Track setting as
something that is passed on to the Parts created on, or moved to, that Track.
Moving Parts to new Tracks therefore automatically sets them to the right
MIDI Channel in most cases. But, you can also set the output Channel
individually for each Part. More on Parts and Tracks is found on page 9-2,

Use the left and right mouse buttons to change the MIDI Channel. The
values are "No" and 1 to 16.1 to 16 are regular MIDI Channels. For an
explanation of the "No" value, see page 9-4.

Output ‘

The sixth column is the Output If you press and hold the mouse over the
Output name on a Track, a pop-up menu falls down listing the possibilities.
Select the one you want If you don’t have anything extra connected to your
ST, the two possibilities are Atari and M»ROS.

An "extra Output" in this context is a MIDI Out jack on a Device. A Device
is some equipment connected to your Atari, such as the Steinberg SMP-24
or MIDEX/MIDrix+. Just as MIDI Channels are used to direct music
to a certain synthesizer in the system, the Output is used to direct
MIDI data to a certain physical MIDI output connected to the ST. If you

5-6

Cubeal

The Track List and the Part Display

have several Devices connected to your computer, each probably with more
than one Output, you can increase the number of effective MIDI Channels
you can send on.

For instance, if you use a Steinberg SMP-24 and you set a Track to SMP 3,
all data coming from Parts recorded on that Track will be coming out on the
third MIDI socket on the SMP-24.

These arc the possibilities if you don't have any extra hardware:

Atari: The regular MIDI Out connector on the Atari ST.

M ROS: This is not a physical output, but rather an invisible MIDI

cord that runs inside and between all M*ROS programs. It is
an advanced feature that lets you patch MIDI data from one
place to another within one program ch" to another program.

If an item is grey, this means that there is software in the computer (a
driver) for using that Output, but the Device is not properly connected
or not turned on.

Instrument

If you connect a synthesizer to a certain Output and decide to send to it on a
certain MIDI Channel, you have defined an Instrument.

For instance, say that you have a Roland D-110. You set it to play a Piano
sound on MIDI Channel 3. The D-110 is connected to SMP-24 Output
number 2.

• Select a Track. Set the MIDI Channel to 3 and the Output to SMP 2.

• Double click in the Instrument column for that Track or press
[Alternate]-[J] on the computer keyboard. A small dialog box opens
up.

• Enter a name and press [Return] as with Track names and any other
names. In our example, maybe "Pnol 10" would be appropriate.

You have now defined an instrument called "Pnol 10". If you set a Track (or
Part) to that instrument it will send its data to the Output "SMP-24’s output
number 2" and it will send on MIDI Channel 3.

Cubcai . c

The Track List and the Part Display

Some instruments are miiUitimbral (they can play several different sound's at
the same time) so for them a name that includes the type of sound is proba¬
bly best. Other instruments play only one sound at a time, which means that
the model name is enough.

Take the time to create names for the instruments you use. It will be of great
help later. If you create names for all the instruments (and sounds) you use,
you can move the separation line between the Track list and the Part display
so that only the Activity, Mute, Track and Instrument columns are shown.
That's really all you need to see.

Once the names arc created, they appear on a pop-up menu in the Instrument
column. When you press either mouse button in the Instrument column for
the Track you want to use, a pop-up menu falls down, listing all the instru¬
ments defined. If there are more than 16, the menu scrolls when you reach
the bottom. Choose the one you want from the list.

INSTRUMENT

CHN

M 15 t ring
E3dru(^5

rums

D«7

M1 St ri ng
Mlpiano
MKS70

ITie pop-up Insirumcnl Menu pulled down from the Track List.

You can delete Instruments by double clicking on the name so that the name
dialog box opens up. Press [Esc] to clear the line and then [Return] and the
Instrument is deleted.

Generally, in other parts of the program, where you see a field with an
Instrument name, you can double click on it or press [Alternate]-[J] on
the computer keyboard to change the name or to define new instru¬
ments in the same manner as above.

5-8

Cubcal

The Track List and the Part Display

Part Display

In this part of the Arrange window your music is shown as Parts. A Part is a
recording you have made and maybe edited, shortened, lengthened, split in
two or joined together with other Parts. A Part is shown as a rectangle,
either with its name on it, or with small bars all over it representing the
events in the Part, It may also have a small drum stick on it, indicating that it
is a Drum Part.

^ m 1_1 ^ 1_ 1 _ 1

1 1

p P.art 1

* T "

1 '

I 1 More Part

A section of the Pan Display with two Parts, the Left and Right Locator
and the Song Position Triangle

Above the actual Part Display you find the Position Bar. This shows you the
positions in your song. The beginning of each bar is indicated by a vertical
line, and some of the bars are numbered. The Song Position, the Left
Locator and Ihc Right Locator are all shown graphically in the Position Bar.
This can also be displayed as SMPTE (time code) times rather than bars.

See page 7-4.

Cubeal

The Track List and tfce Fui Display

5-10

Cubeal

Basic Recording

Cubeal

Basic Recording

Recording is usually done in the Arrange window, but you can record in the
Edit windows also. Recording is a pretty open ended business, and we will
introduce levels of complexity as we go along.

Before Recording

• Select which Track to start recording on and see to that it is set to the
right Output and MIDI Channel.

• Check that your MIDI Thru setting in the MIDI Definitions dialog
box is correctly set, so that you hear what your playing (!), and don't
get any funny doublings.

• Turn the click from the Atari speaker on or off by clicking on the
Click button on the Transport Bar or by pressing [C] on the computer
keyboard.

You may also want to change tempo and/or time signature. How this is done

is described on page 7-2 and 15-2 respectively.

Recording from a specific point

If you want to record from the beginning, simply press [0] on the
computer keyboard until the box "Song Position" says 1.1.0.

■

If you want to record from another specific point in the piece you
have to set that point with the Left Locator. Position the pointer in
the Position Bar at the top of the Arrange window, and click with the
left mouse button.

B 1 I 1^ I 1

Qick wiih the left mouse buiion lo position the Left Locator.

Normally there is a two bar count-in (Precount) before recording starts, but
this can be changed.

6-2

Cubcal

Basic Recording

Rewind

Fast Forward

Click on the Record button or press [*] on the computer keyboard. The
Record button changes from grey to white immediately and the Play button
also changes to white after the Precount (count-in). Start playing for as long
as you wish.

1. You can terminate recording without stopping playback by just
clicking on the Record button again (or by pressing [*] again). You
can also reactivate recording at any time in the same way. In this way
you can punch in and out manually as many limes as you wish. The
Record button switches between grey and while every lime.

2. You can slop the music (and of course the recording) by clicking on
the Slop button once or by pressing [0] or [spacebar] on the computer
keyboard.

3. To automatically quit recording at a certain point you must use the
Punch Out feature (see page 8-3).

When you have finished recording, the Part (or Pans) show up in the Part
Display as one or several rectangles with the same name as the Track (or
with vertical bars in them representing the events).

Undoing a Recording

If you don’t like your last recording, just Press [Undo] on the computer
keyboard, or select the Undo command from the Edit menu. This restores
the Arrange window to the stale it was in just before this recording. If you
undo again, you gel the new recording back. This is a convenient way of
comparing two versions of a "take". You can only undo your last action, so
don't try any other changes to your music before you undo the recording.

6-3

Cubcal

Basic Recording

Precount and Preroll

The length and Time Signature of the Precount (count-in) can be set in the
Metronome dialog box which is reached from the Options menu. In this
dialog box you can also set the Preroll to On or Off.

Precount

Cubeat (almost) always records, even during the Precount.

If you play something in Record mode, Cubeat records it, even during the
Precount. This is perfect for adding notes on the upbeat of a bar. If you
played during the Precount this is reflected in the Part created. It is extended
to the left of the Left Locator. But there is one exception: Cubeat can’t
record before 1.1.0 (the beginning of the whole Song). The Precount
recording feature can be turned off in the Metronome dialog box.

Preroll

If you have the Preroll turned On, instead of having a silent Precount, the
music jumps back in the Arrangement when you click on Record (it jumps
as many bars as you have set the Precount to) and plays back from there.
When it reaches the Left Locator it automatically activates recording (Punch
In).

No recording takes place during the Preroll.

Recording with manual Punch In

You can also play back the music and activate recording when it suits you.
You can replace what is already recorded on the Track by setting the Record
mode to Replace, or you can add music "on top of the existing by setting it
to Overdub. A detailed description of this follows on page 6-5. If you want
to start playback from the beginning, press 0 on the computer keyboard one
or a few times until the Song Position box says "1. 1. 0".

— A Cubcal

Basic Recording

Make sure the Punch Out button isn't active (inverted). If it is, click once on
it.

Click once on the Play button or press [Enter] on the computer keyboard.
The Play button on the screen turns white. The metronome starts (if the
Click is activated). The "tape" is now rolling from the point you started.

When you have reached the point where you want recording to begin, click
on the Record button once or press [*] on the computer keyboard.

Any notes that are sounding at the punch in point will not be cut off.
They will play with their original length.

Watch out when punching in on a recording with pitch bend or control¬
lers in it, (such as modulation wheel or sustain pedal), since this may
lead to strange effects (hanging notes, constant vibrato and so on).

You can stop recording using any of the three methods described earlier.

You can also punch in and out automatically, see page 8-2.

Replace and Overdub

OVERDUB j| II REP LRCE j|

REC MODE ■ REC MODE

The Record Mode buiion switches between
Overdub and Replace when you click on it

Replace

If you made a mistake somewhere along the way, you may decide to redo
the whole recording or a section of iL This is easily done.

Make sure the Record Mode switch is set to Replace (not Overdub). You
can use the [D] key on the computer keyboard to switch between Overdub
and Replace. Make a new recording in any way you like, from a specific

Cubcat

6-5

Basic Recording

point or with a manual punch in. Whatever was recorded before on the
Track is erased from the point you activate recording to the point where you
terminate it.

Stop recording as usual. The result may be a new Part, or your new recor¬
ding may be partly incorporated into the existing Part. It all depends on
where you entered and stopped recording. A full explanation of this follows
later, on page 9-6.

Notes that are sounding at the moment you Punch In are not cut off,
they play to their end as they did before you started this recording. This
is due to the fact that Cubeat gives each note a start position and a
length (not a Note On and a Note Off as MIDI does).

Overclub

With the record mode switch set to Overdub, no music is overwrillen or
erased.

Any recording you do will be added to the existing recordings. As when
Replacing, new Parts may be created.

Recording more Tracks

Just select the Track you want to record on and activate recording just as on
the first Track. It you run out of Tracks, just create more by double clicking
in the Track List, by using Create Tracks on the Structure menu, or by
pressing [Control]-[T] on the computer keyboard.

6-6

Cubcal

Basic Recording

Switching Tracks While Recording

Yes folks, you can even switch Tracks while recording. There arc no
restrictions. Just select a new Track with the mouse or the [T] and [i] keys
on the computer keyboard.

Recording Different Types of MIDI
Messages

Cubcat records anything that makes sense to record (to be precise it records
everything but System Common and System Real Time messages). You can
also prevent the Program from recording certain types of MIDI dau» by
using the Record Filter in the MIDI Definition dialog box (see page 16-12).
There are a few facts about the recording of some types of messages that can
be good to know:

Notes

Note On and Note Off messages (which make up any note you play in
MIDI) are recorded with the MIDI Channel intact. Normally you set the
playback MIDI Channel in the Track List, and this setting overrides the
channel stored with the notes (and other events). But, the original channel
that the notes were coming in on is preserved. In fact, th’s goes for all MIDI
messages that arc coming in on a certain Channel (all Channel Voice and
Channel Mode messages). This can be used as a feature in combination with
MIDI Channel "No". If this sounds technical, a more thorough e.xplanation
is found on page 9-4.

Continuous messages

Pitch bend. After Touch and Controllers (like modulation and footswitches)
can be recorded at the same time as notes, or afterwards (or even before).
They can also be recorded on Tracks separate from the notes they belong to.

Say for instance that you record one or several bass Parts on Track 2. If you
now set another Track, like Track 55, to the same Output and MIDI Channel
as Track 2 you can make a separate recording of just pitch bends for the
bass Parts. This means that you activate recording as usual and only move

Cubcat

6-7

Basic Recording

ihc pitch bend wheel during the take. As long as the two Tracks arc set to
the same Output and MIDI Channel number it will appear as if the two re¬
cordings were made at the same time.

But, just as Note On and Note Off commands have to match, you can run
into problems with controllers that don't match up. If you for instance
deactivate recording with the sustain pedal down, you have instructed the
program to keep the notes hanging, since the release of the pedal has note
been recorded. The same applies if you leave the pitch bend wheel or the
modulation wheel up (or any other MIDI controller for that matter), when
you stop recording. During playback, Cubcat cleans up Pitch Bend, Modula¬
tion and DampcT pedal and Channel Pressure at the end of each Part, taking
into account what happened in earlier Parts. The way Continuous MIDI
messages behave is still something to be aware of.

Program Change messages

The method above applies to Program Change messages also. Program
Changes are used to switch between programs or presets on a synthesizer or
an effect unit. Normally, when you switch from one Program to another on
your kcyboiird (or whatever you use to record), a number corresponding to
that Program is sent out via MIDI as a Program Change message. These can
be recorded on the fly with the music, recorded afterwards on a separate
Track, or manually entered in one of the Edit windows. Furthermore, you
can set a Part to send out a Program Change number at its beginning (see
page 9-20).

System Exclusive

System Exclusive is a special type of MIDI message used to send things that
only make sense to a unit of a certain make. Every major MIDI manufactu¬
rer has its own Sys Ex identity code. Sys Ex can be used to transmit a list of
the n umbers that make up the settings of one or more sounds in a synth. It
can be used for transmitting sampled sounds via MIDI and for a number of
other things. System Exclusive can be recorded just as any other messages
and edited in Grid Edit.

However, if you plan to record ’’Sys Ex" parallel to your music (for example
to reprogram a synth during the course of a song) try to minimize the size of
the "packages" by only recording as much as is absolutely needed. That is,
don't send out all 128 programs from your synth when you're only interested
in number 33. Please note that there is nothing that prevents you from

6-8

Cubcat

Basic Recording

Cycled recording (described later) of Sys Ex data, although this can lead to
serious confusion. In plain English: don't, if you’re not absolutely sure of
what you are doing.

If you record Sys Ex in Cycle recording mode it is not sent out until you
stop the sequencer.

Sys Ex is not sent out from the Editors.

Cubcai

6-9

Basic Recording

6-10

Cubcal

"Tape" Transport and Playback

"Tape" Transport and
Playback

Cubcal

"Tape” Transport and Playback

Tempo, Time Signature, Click, Master
and Sync

You can change the Tempo on the Transport Bar directly, using the left and
right mouse button or by double clicking and entering the value directly.

This is a temporary setting that is only valid if the Master Track is turned off
(the Master button deactivated). This box also shows the current tempo on
the Master Track (if it is activated) and incoming tempo if the sequencer is
synchronized to another clock source, such as MIDI clock.

Time Signature is only a display field. You can’t change the figures in it
directly. It shows the current Time Signature as it is set on the Master Track.

The Master button is u.^^ed to activate and deactivate the Master Track tempo
changes.

The Time Signature changes on the Master Track are always active.

Click is used to turn the metronome on and off. This affects both the compu¬
ter’s "beep" and MIDI click if that is used.

Sync is used to turn synchronization to other equipment on and off.

More information on the Master Track, Tempi and Time Signatures is
found on page 15-2 and on the Click and Sync options on page 16-18
and 16-20.

7-2

Cubcat

"Tape" Transport and Playback

Play

You activate Play either by clicking on the Play button or by pressing
[Enter] on the computer keyboard.

Playback always starts from the current position on the virtual tape. This
means that playback should be thought of as Continue Play. If you want
playback to start from the beginning of the piece or from some other point
you must either rewind or fast forward the tape or enter a new Song Posi¬
tion.

Play can also (as a lot of other functions) be activated remotely from your
MIDI-keyboard, using the Remote command on the Options menu.

Stop

You stop the "tape" by clicking on the Stop button or by pressing [0] or
[spacebar] on the computer keyboard. Once the tape is stopped you have a
couple of other options.

Clicking on the Stop button or pressing [0] or [spacebar] on the computer
keyboard a second lime moves the Song Position to the setting of the Left
Locator. If the Left Locator for example is set to the beginning of bar three
(3. 1. 0,), this is were you go. There is one exception to this: If you are
already to the left of the Left Locator you go to the beginning of the "tape"
( 1 . 1 . 0 ).

Clicking on the Stop button or pressing [0] or [spacebar] on the computer
keyboard a third time always takes you to the beginning of the "tape"

( 1 . 1 . 0 .).

Cubeal

7-3

*'Tapc*' Transport and Playback

Song Position

Your current Position in the song is indicated in three ways:

• The triangle on the Position Bar,

• The Song Position box on the Transport Bar.

• The time in the SMPTE Time box.

The Song Position TViangle

J L r I !

The triangle always indicates the current position. It might not, however,
always be visible, depending on what part of the arrangement is currently
shown inside the window. For instance, if bar 1 to 17 is shown in the
window and the current Song Position is 33.1.0 you won't see the triangle.
You have to use the scroll bars to cither move to that position or to reduce
the magnification in order to make the Song Position visible on the Position
bar.

The bar lines show the beginning of each bar. The distance between them is
adjusted after the Time Signature. If you start a song in 4/4 and somewhere
change the Time Signature to 2/4 (using the Master Track) you will see that
the bar lines arc spaced twice as close after the Time Signature change.

You can also display the position as SMPTE times. Click once on the mouse
box. The Position Bar changes to show the position in
hours:minutcs:scconds:framcs, depending on the set tempo and SMPTE
frame rate (see page 16-20). The Position Bar is divided into steps of
seconds and smaller steps, some of them indicated by numbers.

“o I e: e: 1 : o

■

This setting (SMPTE or bar numbers) also affects which way the position of
the mouse pointer is indicated in the Mouse Box above the Part Display, and
a Part's Start and End position in the Part Info dialog box (explained later).

7-4

Cubcal

"Tape” Transport and Playback

The Song Position box

12 . 1 . 0

The Song Position box is divided into three sections, Bars, Beats and ticks.
These indicate the current Position. If you want to move the Song Position,
for example because you want to start playback from a certain point, you
have several options. The first two ways are of course to Rewind or Fast
Forward (described in detail later). But, there are many ways:

Double click once in the Position bar at the top of the Part Display,
and the music immediately jumps to the new Song Position if Play is
activated.

Use the left and right mouse button to change the values in the
Position box directly. By positioning the pointer on top of one of the
numerals (the Bar, the Beat or the Fraction) you can change them
individually. The right mouse button increases values, and the left
decreases. One click moves you one "step", and if you hold down the
button the values change continuously. This can of course be
combined with [Shift] for drastic changes.

Double click on the Song Position box or press [P] on the computer
keyboard, and a small box appears. Here you enter the Bar, Beat and
Fraction as numbers. Use any non-numeric character (like a period or
a press on the spacebar) as divisions between the three steps. For
instance, to enter the Position 3. 2. 64 you could type 3.2.64 or
3 2 64 (or actually even 003&2-t-064, the program is pretty
forgiving). After you are finished, press [Return] and the box closes.
If you only need to specify the bar, just enter that number and press
[Return]. For example, typing just 5 and [Return] would give you
5. 1.0 (the beginning of bar five). The same kind of shorthand
applies if you want to enter the bar number and the beat and would
like to omit the fraction. Typing 34.2 and [Return] gives you
34. 2. 0.

If you want to move some specific amount forward or backwards
from the current position, you can add or subtract a value from the
current Song Position. Just enter the value preceded by a + or - sign.
For instance, if you want to move four bars backwards from the
current position enter -4 and press [Return].

Cubcat

7-5

"Tape** Transport and Playback

To SCI the Song Position to the same value as the selling of the Left
or Right Locator, click on the black identification part with while
text, below the Lcfl/Righi Locator box.

Use the 1 and 2 keys on the numeric part (not the typewriter part) of
the computer keyboard to move to the Left and Right Locator
positions (sec page 7-8).

If you press [Clr Home] on the computer keyboard, the Song Position
is instantly moved to the left side of the window.

If you press [9] on the numeric part of the computer keyboard, you
go to the last Position you Slopped at.

Changing the song Position in any way can very well be done while
playing back the music. The music then jumps to the new Position as
soon as the mouse button is released or [Return] is pressed. You can
even change the Song Position while recording, but this terminates
recording (not playback) before the music jumps to the new position.

Cue Points

If you hold down [Shift] and press any of the keys [3] to [9] on the numeric
part of the computer keyboard the current Song Position is stored under that
([3] to [8]) key.

To move the Song Position to any of the stored cue points, just press the
relevant key ([3] to [8]) on the numeric keypad on the computer keyboard.

7-6

Cubcal

"Tape” Transport and Playback

The SMPTE Time box

I 0: 0:22:~0|

SMPTE TIME

This shows the Song Position in hours:minutcs:seconds:frames from the
starting point (position 1. 1. 0).

What SMPTE times correspond to what Song Positions is calculated
using the tempo changes on the Master Track (see page 15-2).

The Song Position can also be entered in absolute time using this box. Use
the left and right mouse button to change the values, or double click and
enter the time, just as with the Song Position box. If you for instance want to
start playback of the music from the position 1 minute and 30 seconds, set
the SMPTE Time box to 0: 1:30: 0 and click on the Play button.

If you want to, you can change this display so that the beginning of the song
isn’t shown as 0: 0: 0: 0, but any other value you decide. This is done
using the Display Offset parameter described on page 16-23.

Rewind, Fast Forward and Cueing

You don’t have to first stop the music to Rewind or Fast Forward.

To Rewind the "tape", click on the Rewind button or press [(] on the
computer keyboard (left parentheses). Holding down the mouse button or
the key lets you Rewind continuously.

To Fast Forward the "tape", click on the Fast Forward button with the left
mouse button or press [)] on the computer keyboard (right parentheses).
Holding down the mouse button lets you Fast Forward continuously.

If you want to speed up Rewind or Fast Forward, hold down [Shift] on
the computer keyboard.

Cubcal

7-7

"Tape” Transport and Playback

You may very well Rewind or Fast Forward while playing back the
music. Y'ou can even do this while recording, but this terminates recor¬
ding (not playback) before the music jumps to the new position.

Cueing

To Fast Forward and hear the music (cueing), first Stop Cubcat. Then, click
and hold the right mouse button over the Fast Forward button. To change
the speed of the cueing, move the mouse to the left (slower) or to the right
(faster). Pressing [Shift] works in this mode also.

Left and Right Locators

The Locators arc two markers, specifying two positions on the "tape", used
for recording, some editing and for the Cycle function. The Left and Right
Locator appear on the Position Bar as two squares with the letters L and R in
them. Their position is also shown in the Left Locator and the Right Locator
boxes.

1 . 0

13 . 1 . 61

1 LEFT

LOCATOR 1

1 RIGHT LOCATOR |

There are several ways to change the settings for the Left and Right Locator:

7-8

Cubcal

”Tape” Transport and Playback

Position the pointer in the Position Bar. If you click the left mouse
button you set the Left Locator, and if you click the right mouse
button you set the Right Locator. You are aided by two things in this
procedure. Above the Track List you have a small box called Snap. If
you press and hold any mouse button with the pointer positioned
inside this box, a Pop-up menu appears. Selecting one of the values
restricts the selling of the Locator Positions to that value, like a sort
of quantizing. The possibilities are Off, Bar, 1/4,1/8 and 1/16. The
second aid is the box beside Snap, called Mouse. When the mouse
pointer is moved inside the Part Display, the mouse position in Bars/
Bcais/ricks (or as SMPTE limes if you click once on it) is shown in
this box. If you want to get any closer than 32 Fractions, you will
have to use one of the methods below.

SNRP

BAR

MOUSE 2.1. 0

OFF

BAR

kl/8

1/16

The Snap menu and the Mouse Box showing the mouse position
in Bars/Bcats/ricks.

Use the left and right mouse button to change the values in either of
the value boxes directly. By positioning the pointer on top of one of
the numerals (the Bar, the Beal or the Tick) you can change them
individually. The right mouse button increases values, and the left
decreases. One click moves you one "step", and if you hold down the
button the values change continuously.

Double click on either box or press [L] (for Left Locator) or [R] (for
Right Locator) on the computer keyboard, and a small box appears.
Here you enter the Bar, Beat and Tick as numbers. Use any non¬
numeric character (like a period or a press on the spacebar) as
divisions between the three steps, just as with the Song Position box.
If you hold down [Shift] and press [1] on the numeric part of the
computer keyboard, the Left Locator is programmed with the current
Song Position.

Cubcat

7-9

'Tape'* Transport and Playback

• If you hold down [Shift] and press [2] on the numeric part of the
computer keyboard, the Right Locator is programmed with the
current Song Position.

• If you select Parts in the Part Display and press [Alternate]-[P] on the
computer keyboard the left Locator is set to the Start Point of the first
Part and the Right Locator to the End Point of the last Part. In other
words, the Locators are set to the beginning and end of the selected
"block" of Parts.

You can set the Right Locator to a lower value than (to the left ol) the
Left Locator, but then you can't activate recording directly, you have to
punch in at some point.

Changing the Locator values can be done while playing back the music,
but not while recording.

Preprogramming Locators

You can also store ten Locator pairs, one under each of the function keys
[FI] to [FlO] on the computer keyboard. These can then be used to instantly
reprogram the Left and Right Locator sections. This can be used to define
certain often used sections in a song like each verse's or choruse’s beginning
and end.

Set the Left and Right Locator to the desired values using any method
described earlier. Hold down [Shift] and press the desired Function key
([FI] to [FlO]). The Left and Right Locator values are now stored under ihat
key.

All you have to do to use a setting is to press the corresponding Function
key once. The Left and Right Locator arc then immediately set to the
programmed positions.

7-10

Cubcal

Automatic Punch In and Out

, Automatic Punch In
and Out

CuhKrat

Automatic Punch In and Out

As mentioned earlier, the Left and Right Locators are used for recording,
especially in combination with the Punch In and Out buttons. This is how it
works:

When you activate recording with the "tape" stopped (by clicking on the
Record button or by pressing * on the computer keyboard) recording is
started from the left Locator. This is a sort of instant punch in. But you can
also just "play" the tape and make Cubeat punch in and out (activate and
deactivate recording) wherever you want.

The Punch In point is always set with the Left Locator, and the Punch Out
point with die Right Locator.

Recording with automatic Punch In

XN IQ
PUNCH

Punch In activated.

Activate the Punch In button by clicking on it or by pressing [I] on the
computer keyboard, and Rewind the tape to some point before the Left
Locator. Select a Track for recording and activate Play. When the "tape"
reaches the position of the Left Locator, recording is activated on the
selected Track. You can either manually terminate recording as usual or use
Punch Out (see below) for automatic deactivation of recording.

Notes that are sounding at the moment you Punch In are never cut off,
they play to their end as they did before you started this recording. This
is due to the fact that Cubeat gives each note a start position and a
length (not a Note On and a Note Off as MIDI does).

8-2

Cubeat

Automatic Punch In and Out

Recording with automatic Punch Out

Punch Out activated.

Activate the Punch Out button by clicking on it or by pressing [O] on the
computer keyboard. Select a Track and start recording (manually or with
Punch In) at some point before the Right Locator. When the "tape" reaches
the position of the Right Locator, recording is deactivated (the program
switches to Playback). But, recording can manually be activated again at any
point.

Automatic Punch In and Out

The two commands can of course be combined for a completely automated
recording with the Left and Right Locators as Punch In and Out points.

Automatic punching doesn't differ from normal recording in any way. You
can deactivate recording at any time and reactivate it again. You can switch
Tracks and so on. The Record Mode switch (Overdub or Replace) works as
usual.

Cubeal

8-3

Automatic Punch In and Out

8-4

Cubcal

Handling Parts

Cubeal

Handling Parts

So what is a Part, actually? It is a piece of your music. It has a Start- and an
Endpoint which are defined by its place in the Part Display. It (probably)
contains some MIDI messages put there by recording or entered "manually"
in one of the Edit windows. It also has a number of playback parameters as
we shall see.

A Part actually has a pretty open structure. A Part can be moved, split in
two, lengthened, merged with another Part or "glued" on to the end of
another Part and much more. Furthermore, its contents can be changed in all
and any respect

The way notes are handled in Parts differs a bit from the way MIDI
handles them. Cubeat stores Note 0ns, and the note's length. This
means that a note can actually play past the end of a Part, it is not cut
off at the end of the Part.

There is a special type of Part which differs a bit graphically from the others.
These are Parts that have the Drum Map Parameter set to On (more on this in
the Drum Edit chapter).

\Dru« Part 1

Parts, MIDI Channels and Outputs

The capability to transmit different parts of your music on different .i.MIDI
Channels: Parts output; is probably one of the most important features of a
sequencer program, so we'll get to the bottom with that one first. Cubeat
relies heavily on the fact that you also can direct data to different Outputs.
The relation between Outputs, MIDI Channels and Instruments is described
on page 5-7.

□ When you record on a Track, the Parts created are set to transmit to
the same Output and on the same MIDI Channel as the Track is set
to. An example: If you record on a Track set to output on MIDI
Channel 3 op the ST’s MIDI Out, all Parts recorded on that Track
will be set to output on that MIDI Out and on MIDI Channel 3.

9-2

Cubeat

Handling Parts

When you move a Part to another Track it takes on the Output and
MIDI Channel setting of the Track it is moved to. That is, the Output
and MIDI Channel are automatically changed when you move the
Part to another Track.

The Part above is set to send on MIDI Channel 4. But when it is moved to the next Track (set
to MIDI Channel 1)...

jcHN

\ \ \

- “i

[Sends on 1

.. .its setting changes to that of the Track, so that it ou^uts on MIDI channel 1 instead.

• You can change the Output and Channel for one specific Part by
opening up the Part Info dialog box for that Part (double click on that
Part). More on this is found on page 9-16 to 19.

• You can change the Output and MIDI Channel for all Parts on a
Track by changing these parameters for that Track in the Track list
Changes in the Track List are automatically transferred to all Parts
currently on that Track.

Everything that is said above about Outputs and MIDI Channels can of
course be handled directly through the Instrument definitions.

Cubeat

9-3

Handling Parts

MIDI Channel ”No”

There is a seventeenth setting for the MIDI Channel value, called "No". This
is used to make a Part (or Track) send out on the original MIDI Channel, the
MIDI Channel the sending instrument was set to when the Part(s) were
recorded. An example: If you use a synth for recording, this may be set to
send on MIDI Channel 6. When you record Parts, this value is stored with
each single MIDI Channel message that is recorded. But, then you set the
Part to send out on MIDI Channel 3. Now, the stored value of 6 is replaced
with 3 when the Part is played back.

If you want a Part to send on the MIDI Channel that is actually stored in the
recording, you set it to "No" (which in our example would make it transmit
MIDI messages on MIDI Channel 6).

A Part recorded may contain MIDI messages on several MIDI Channels. It
may be recorded with a keyboard able to transmit on two MIDI Channels
(each one on one side of a splitpoint) or it may come from another sequen¬
cer which means that it could contain messages on all sixteen MIDI Chan¬
nels. So if you want the Part (or the whole Track) to send out on the MIDI
Channel(s) actually stored with the MIDI messages, set it (them) to MIDI
Channel "No".

This feature is coupled with the possibility to change the stored MIDI
Channel value for each MIDI message in the Edit windows. It is also
coupled to the Mixdown and Remix features.

Selecting Parts

In the following operations you will do things that affect one or several Parts
(like erasing, duplicating and so on). To do this you must first select the Part
you want to be affected by the operation. This can be done in a few ways:

• To select one Part, click on it. Selected Parts are inverted (white on
black).

• To select more Parts, hold down the [Shift] key and click on the Parts
you want to select. You deselect Parts individually by clicking on
them again (but don’t' let go of the [Shift] key until you’re finished).

9-4

Cubcal

Handling Parts

To select several adjacent Parts at the same time you can enclose
them in a rectangle by holding down the mouse button in some free
(white) area in the Part Display. Drag the mouse to create a rectangle
big enough to "touch" all the Parts you want to select. You don't have
to perfectly enclose all the Parts, it’s OK if the rectangle just covers
some section of the Part. Release the mouse button, and the Parts are
selected.

— n -

^ \ 1

1 1

* 1

Part 2

• 1

; 1

j ■

Part i

1 IFirt 4

■ 1

1 i

i.’.

.Y.

•

Making up a rectangle like this...

... selects these Pans.

• To deselect all Parts, click on some free space in the Part Display.

• You can select all Parts on a Track by holding down [Shifi] and
double-click anywhere in some free space on that Track.

• You can select all Parts by using the Select All command from the
Edit menu or by pressing [Conlrol]-[A] on the computer keyboard.

• You can use the computer keyboard for selecting Parts. Use the [<--]
and [^] keys on the computer keyboard to step through the Parts on
the Track, and combine this with the Shift key to select several Parts
on the Track. You can also use the [T] and [i] keys to step to another
Track.

Parts are always selected when they are first created.

Cubeal

9-5

Handling Parts

Creating Parts

Paris arc mainly created in one of three ways, by recording, by direct
creation of an empty Part or by duplication of existing Parts (see page 9-9).

Recording Parts

When you record on one Track the following rules apply:

• Recording from one point to another creates a Part that spans
between these two points (pretty obvious, huh?)

• Recording again between the same points or within the Start and End
points of the existing Part creates no new Part. The music is either
added to (Overdub mode) or replacing (Replace mode) the existing.

• Recording during the Precounl (not before 1.1.0 and not in Cycle
mode) extends the Part to the left.

• All other cases, like starling recording in an empty section of the
Track, recording over Parts and recording out of existing Parts into
empty areas of the Track only creates new Parts where there wasn’t
any before. The Ovcrdub/Replacc selling applies. An example might
clarify this: You have an existing Part starting at 3.1.0 and ending at
4.1.0. You start the new recording in Overdub mode at 2.1.0 and end
at 17.1.0. This creates a new Part starting at 2.1.0 and ending at 3.1.0.
The old one between 3.1.0 and 4.1.0 is kept, but music gets added to
it, and finally there is a new part created between 4.1.0 and 17.1.0.

1 B

1 '▼'1

1 1 1

13 117

1 i 1 Cl

jOld 1

Recording between 2.1.0 and 17.1.0 as in the example...

J L

1 1

...creates two new Parts.

9-6

Cubcat

Handling Parts

Direct Creation

You can create empty Parts in three ways:

• By Double clicking in any empty (white) area between the Left and
Right Locator, in the Arrange window.

• By selecting Create Parts from the Structure menu.

• By pressing [Control]-[P] on the computer keyboard.

The new Part winds up on the selected Track and begins at the setting of the
Left Locator and ends at the Right Locator. A Part created this way never
replaces an existing Part, but may very well overlap one.

Parts and their Position

You will make up an arrangement of your piece of music by making up new
Parts (some of them by recording, others by making copies of existing ones)
and by moving these around in the Part Display. How to do this is explained
below but there is one function that is very important:

Parts on the same Track may very well overlap or be completely on top
of one another.

You can make good use of this fact in many ways:

• Parts which start with an upbeat can overlap the end of the Part
before.

• Small drum ornaments (such as cymbal crashes) can be created as
separate Parts and just be put on top of the basic beat Part

• Duplicate Parts (or Ghost Parts, see page 9-22) which are used to
create delay effects, double sounds and so on, can be put on top of
the Parts they are duplications of.

You will probably find other creative uses for this feature.

Cubcal

9-7

Han(^lin^ Parts

Moving Parts

You may move Parts around in the Part Display as you like. You can select

several Parts at the same time, and move them all. You can move them

witliin the Track or to another Track.

• If you release the mouse button below the last of the existing Tracks,
a new Track is created. This Track is set to the same Output and
MIDI Channel (Instrument) as the Part.

• If you move to the left or right sides of the Part Display, the window
scrolls until you move the mouse back a bit. Of course, scrolling to
the left only goes as far as the beginning of the song (1.1.0)

• When you are moving a Part, the .i.Mouse box:Arrange window;
above the Part Display shows where the beginning of the Part is
positioned. This aids you in moving it to the correct position. The
box normally shows time in bars/bcats(ticks, but if you click on it
once it changes redisplay SMPTE lime (hours/minules/seconds/
frames).

• The Snap function (in the box above the Part display) acts as a sort of
quantizing for your movement. If you press and hold the mouse
button over the value shown to the right in this box, a Pop-up menu
falls down. Select one of the values. The possibilities are Off, Bar,
1/4, 1/8 and 1/16. Now when you release a Part its start point will
automatically be moved to the closest position according to the value.

SNRP

BftR

MOUSE 2.1. 0

OFF

BRR

\/A

M/8

t/16

The Snap menu and the Mouse Box showing the mouse position in Bars/Beals/'Ficks.

9-8

Cubcal

Handling Parts

Duplicating Parts

To duplicate one or more Parts, select them (it), hold down the [Alternate]
key and drag it (them) to the new location. Remember that you must at least
move them one Snap value in either direction or move them to another
Track to actually get a Duplicate.

Duplicate Parts take on the MIDI Channel and Output (Instrument)
settings of the Tracks they are put on, just as with a regular move.

Duplicating a Part to a nonexistent Track creates a new Track, just as
when moving.

If you want to Duplicate all Parts on a Track, try the Duplicate Track
function instead (hold down [Alternate] and drag the Track name in the
Track List).

Merging Parts

If you hold down [Conirol] and [Alternate] and drag one Part and release it
on top of another Part, a copy of the dragged Part is created which is merged
into (added to) the new Part.

The dragged Part is not erased or even moved. A copy of its contents is
made, and it is this that is merged into the other Part. If you set Record
Mode to Overdub you get a regular merge, the dragged events are
added to existing events in the destination Part. If you set it to Replace,
the events in the dragged Part replace the events in the destination Part.

One way to use this is as a quick feature to add a few notes or other MIDI
messages to a Part. If you have an exira cymbal crash or a snare fill some¬
where as a separate Part and wish to add this to the basic drum beat, then
Merge is perfect.

Cubeat

9-9

Handling Parts

This procedure is very much as if you had recorded in the Pari. This means
that the resulting Part keeps all its Parameters (Output MIDI Channel and so
on). Explained in an other way: only the events in the dragged Part are
copied to the destination Part.

Start and end points don't have to match at all. If the two Parts don’t exactly
overlap, new Parts are created. This follows the same rules as when creating
Pans in other ways (sec page 9-6). The Mouse indication and Snap value
apply, as always when moving Parts.

An example: if you have two Parts on two Tracks both starling at 2. 1.0 you
can merge them with any offset you like. If you for instance drag one of
them on lop of the other (with the [Control] and [Alternate] keys down) and
release it with the start point at 3. 1. 0, its events are offset one bar.

jm.

J L

■

P-art

-U

erse

The lower Pan is dragged (merged) into the upper Part with a one bar offset, as in the
example.

Deleting Parts

There are several ways to gel rid of unwanted Parts.

• Select them and press [Backspace] on the computer keyboard.

• Select them and press [Delete] on the computer keyboard.

• Select them and use Delete Parts on the Edit menu.

• Hold down the right mouse button to bring up the Toolbox. Select

the Eraser. With the left mouse button, click on the Parus you want to
eradicate. When you are finished, press and let go of the right mouse
button once, to bring back the arrow pointer. Or, select another tool
from the Toolbox.

9-10

Cubcat

Handling Parts

Cutting, Copying and Pasting Parts

You can also use the standard ST commands. Cut, Copy and Paste to
rearrange your Parts. These also have the keyboard equivalents [Conirol]-
[X], [Control]-[C], and [Conirol]-[V] respectively.

Cutting, Copying and Pasting can be used to move Parts from one
Arrange window to another.

Cut

This command takes the selected Parts and removes them from the Arrange
window they were in, and puls them in a temporary, non-visible location
called the Clipboard.

Only one "cutting" (or "copying", see below) at a time can be stored on
the Clipboard.

This means that if you first select two Parts and use Cut, and then select
another Part and Cut that also, the two Parts that were on the Clipboard first,
are lost forever, and the last Cut Part is now pul on the Clipboard instead.

Copy

This command Copies the selected Parts and puls them on the Clipboard.

And again, only one "copying" (or "cutting") at a time can be stored on
the Clipboard. There is only one Clipboard, shared by Cut and Copy.

Paste

This command puls the Parts on the Clipboard back into the selected
Arrange window, which might be the same window as they were Cut/
Copied from, or another. These are the rules:

Cubcal

9-11

Handling Parts

The Paris are always Pasted in beginning at the current Song
Position. Move the Position lo where you want the beginning of the
first Part. The Song Position is automatically moved to the beginning
of the first selected Part when Cut or Copy is executed, making this
Position a suggestion for Pasting.

If you Paste in to the same Arrange window as the Parts came from,
they are put in on the same Tracks as they originally were on.

If you Paste in on another Arrange window, Paris are always pasted
in on new Tracks. This means that new Tracks arc created for the
Pasted Parts.

You can Paste the same contents from the Clipboard as many times
as you like. Data is copied from the Clipboard, not moved from il.

Muting Parts

You can mute (silence) all output from a Pari.

Hold down the right mouse button to bring up the Toolbox. Select the Mule
Cross. To mute a Pan, click on it with the left mouse button. To "unmuie" a
Pan, just click on it again.

[Psrt 1 X _]

This picture shows the Mule cross over a regular Part*
and below that a Pari which is already muled.

When you arc finished, press and let go of the right mouse button once, to
bring back the arrow pointer. Or, select another tool from the Toolbox.

Changing the length of a Part

You can change the length of a Pari using the Pencil icon in the Tool box.

Hold down the right mouse button lo bring up the Toolbox. Select the
Pencil.

9-12

Cubcal

Handling Parts

Position the pointer at the end point of the Part you want to change, and drag
to the left (shorten) or to the right (lengthen). An outline of the Part shows
the size while you are dragging. The Mouse box aids you in positioning the
pointer so that you can set the length exactly as you want it. The Snap
function also helps you to restrict your changes to some even note value (for
more info on the Mouse and Snap boxes, see page 9-8).

This function is reversible. If you lengthen the Part after shortening it,
the previously "hidden” music comes back.

When you are finished, press and let go of the right mouse button once, to
bring back the arrow pointer. Or, select another tool from the Toolbox.

Splitting a Part in Two

A Part can be split or cut apart using the Scissors tool in the Tool box. This
creates two completely independent Parts. Hold down the right mouse
button to bring up the Toolbox. Select the Scissors.

With the /e/r mouse button, click on the Part you want to Split. The mouse
box aids you in positioning the pointer so that you can cut the Part in two,
exactly where you want. The Snap function helps you in the same way as
when using the pencil.

MOUSE 4.2. 0

QURNTIZE

I_I_I

I_I

Splitting a Pan in two at Position 4.2.0 (Snap set to 1/4).

When you arc finished, press and let go of the right mouse button once, to
bring back the arrow pointer. Or, select another tool from the Toolbox.

9-13

Cubeat

Handling Parts

Joining Parts Together

Pans on a Track can also be joined. This turns two shorter Parts into one
long Part. Hold down the right mouse button to bring up the Toolbox. Select
the Join tool.

With the left mouse button, click on a Part. This Part will now be joined to
the Part coming after it on the Track, regardless of if they overlap, if they
are exactly adjacent or if they are spread apart. But there is one thing to
note:

If the Parts overlap, they are merged in the overlapping area. No events
are lost.

If you click on a Part again with the Join tool active, the next Part on the
Track will be appended. This goes on as long as there are any Parts left on
the Track. When you are finished, press and let go of the right mouse button
once, to bring back the arrow pointer. Or, select another tool from the
Toolbox.

Glueing iwo Parts together...

P^r t

... gives you one long Part with the name of the first.

9- 14

Cubcal

Handling Parts

Scrubbing Parts

You can listen to the contents of a Part by using the magnifying glass i

icon.

Hold down the right mouse button to bring up the Toolbox. Select the
magnifying glass.

With the left mouse button, click on the Part you want to hear. Drag the
mouse to the left and to the right and over new parts to hear the music.

Part 1

Both notes and other MIDI messages are sent out thisiway.

When you are finished, press and let go of the right mouse button once, to
bring back the arrow pointer. Or, select another tool from the Toolbox.

Triggering Parts

If you select the magnifying glass icon, as described above, you can start
any Part during playback, by holding down (Alternate] and clicking on it.
The Part plays back when Cubeat reaches the beginning of the next bar, and
plays to its end. This is a playback function only, allowing you to test out
variations on an Arrangement.

Renaming Parts

If you hold down [Alternate] and double click on a Part, a small dialog box
appears where you can change the name of the Part, as described on page
4-6.

Cubcal

9-15

Handling Parts

Part Info

The Parts play back the data—i.e. notes, controllers and so on—that are put
in them by recording or editing. But, you can also — during playback —
change, filter out or add data relevant to each Part. This is done by setting
parameters in the Part Info box.

To see the Part parameters, double click on the Part that you want to change
or select Info from tjie Edit menu or press [Control]-[l] on the computer
keyboard. A dialog box opens up.

The Part parameters are playback parameters. All data changes are
done while the Part is playing back, recorded data is not changed in any
way.

This means that if you for instance transpose a Part down by two semitones,
this is an arithmetical operation that is done on the data coming out from the
Part while it is being played back. In this example, every note number is
subtracted by 2. >

9-16

Cubcat

Handling Parts

What Parts will be affected?

You can direct editing to one Part, all Parts on one Track or the whole
Arrangement from inside the Part Info box. But, when you first open Part
Info, editing is directed to one or several Parts as explained below.

• If you double clicked to enter Part Info you can be sure that you arc
editing the Part you clicked on.

• If no Paris were selected, the active Track will be edited.

• If several Parts were selected, the one that starts first in time will be
displayed.

You decide if you want to change the parameters for one Part only, for all
Parts on one Track or for all Parts in the active Arrange window by clicking
on one of the three buttons (Part, Track and Arrangement) in the upper Part
of the Part Info box.

You can step through the Tracks using the [T] and [i] keys on the computer
keyboard, and you can step through the Pans on the active Track using [->]
and [<—].

You can make changes to as many Parts as you wish before you Exit.

The fields and the values

The Track and Part names in the Part Info box can be changed by clicking
on them as usual. A dialog box appears where you can edit the name.

Other fields are value fields where the value can be increased with the right
mouse button and decreased with the left. Or, you can double-click on them
and enter the value in the dialog box that appears. Some fields activate pop¬
up menus when you press either mouse button with the pointer over the
value. As all other changes, these can of course be done while the music is
playing and even while recording.

Cubeal

9-17

Handling Parts

Even if you are editing several Parts, one whole Track or the whole Ar¬
rangement, the parameter settings shown are still of course for only one
Part. If you change one parameter (like Velocity) you are changing this
in all Parts that are affected. But, it is only that parameter (Velocity in
the example) that is changed in the Parts, they keep their individual
settings for all other parameters (like Length, Volume and so on).

What follows is an explanation of the function and values for each field.

Track

The name of the Track. You step through the Tracks using the [t] and [i]
keys on the computer keyboard. You change the name of die Track by
clicking in this field, and enter a new name as usual. No name is displayed if
you arc editing the whole Arrangement.

Part

The name of the Part. You step through the Parts on the Track using the [->]
and [<—] keys on the computer keyboard. You change the name of the Part
just as with the Track. No name is displayed if you are editing a Track or the
Arrangement.

Start and End

The Start and End fields can be changed for one Part just as with the Locator
Box or Song Positions. If you change the Start value, this is the same as
moving the Part (the End value changes accordingly). If you change the End
value, this is the same as Sizing the Part with the Pencil. When Track or
Arrangement is selected, these values can’t be changed.

Instr

1 his is the Instrument (Output and MIDI Channel) that the Part is assigned
to. If you press either mouse button in this field a pop-up menu falls down
showing you a list of the existing instruments. Pick one. You can also create
an Instrument name for a set Output and MIDI Channel here, by double¬
clicking on the Instrument field, just as in the Track List. For a more
thorough explanation of Insu-uments, Outputs and MIDI Channels, see page
5-7.

9-18

Cubcal

Handling Parts

Channel

The MIDI Channel the Part is playing back on. This can be set to 1 to 16 or
"No". For an explanation of the values, see page 9-2. ^

This value may automatically be changed when you select a new Instru¬
ment in the Instr field above.

Output

The Output port the Part is playing back on. This is also a pop-up menu
showing you a list of the existing Outputs. Select an Output from the menu.

This value may automatically be changed when you select a new Instru¬
ment in the Instr field above.

Drum Map

This directs all output from the Part through the Drum Map in the Drum
Edit window. More information is found in the Drum Edit chapter.

Transpose

This can be used to Transpose the notes coming out from the Part by some
amount. The range is -127 to +127 semitones, but remember that the total
range of the MIDI note numbers is 127, and that not all instruments can play
back notes over the whole range. For example, transposing a C, that is
already two octaves below middle C, downwards by five octaves (60
semitones) makes no sense at all, and transposing it one octave down may or
may not make sense, depending on the capacity of the instrument that is
playing it back.

Parts set to Drum Map On are not transposed.

Velocity *

This value is used to change the dynamics of the Part. The value in this field
is added to the velocity of each note message that is sent out from the Part.
Positive values means that the resulting volume is raised and negative that it
is lowered. The range is -127 to +127 and 0 is of course no change.

Not all instruments are responsive to velocity at all. And, remember
that MIDI velocity is in fact an exponential function, and that not all
instruments handle the velocity range identically. A certain value might
lead to more drastic changes on one instrument than on another.

Cubeat Q _ JQ

Handling Parts

Delay

This is used to delay a Part relative to the other Parts. The values represent 1
Tick (fraction of a beat). The range is -127 to +127. To the left of this are
small figures telling how much this is in milliseconds, calculated after the
current tempo. The negative values put the Part ahead of the other Parts. Use
this feature to adjust the fael of a Part or Track or to compensate for "slow
reactions" in a MIDI instrument.

Notes that wind up either before the beginning (1.1. 0) or outside a set
cycle, due to delay settings, are not played.

Lengths

This value adjusts the lengths of all notes. The range is Off and 25% to
200%. 200% means that all notes get double the length of the recorded and
25% that they get a quarter of their actual length.

Compression

This parameter acts just like a regular sound compressor/expandcr. It does
this by adjusting velocity values (make sure that your sounds are velocity
sensitive!). It can be set to Off and 25% to 200%. 25% means that all
velocity values are divided by 4, and 200% that they are doubled. Remem¬
ber that the maximum velocity is always 127 no matter how much you try to
expand. Use this parameter in combination with Velocity to tailor dynamics.

Prg Change

Program Change messages are MIDI messages used to make a synth or
other unit switch from one "program" (sometimes called preset, sound or
timbre) to another. You can make a Part send out a Program Change at its
Start Point by setting this value to anything but Off. The range of the
Program Change numbers are 0 to 127.

The number is always sent out at the beginning of the Part, in Cycle
mode also.

Make sure your instrument is set to receive Program Change messages,
and check that Program Change messages are not Tiltered out using the
Output filters (see below).

9-20

Cubeai

Handling Parts

Normally, Program Change messages are sent out continuously while you
change this value. This makes it easy to ’’scroll" through the Programs of a
receiving unit until you find the right one. But, if you hold down [Alternate]
while changing the value it is not sent out until the Part is played back next
time.

The Part Info box is not the only way to send out a Program Change
number. These can also be recorded just as any MIDI data, or entered in
one of the Edit windows as a permanent event in the Part.

Volume

One of the MIDI controllers (number 7) is defined as a volume control. You
can send out a volume value at the start point of the Part This then changes
the overall volume for instruments set to receive from that Output and on
that MIDI Channel.

MIDI Volume is a function totally separate from MIDI note messages
and their velocity values. Not all MIDI Instruments can receive MIDI
Volume, check the instrument's operation manual or MIDI Implemen¬
tation Chart.

Also check that Controller messages are not filtered out using the
Output filters (see below).

Normally, this value is sent out continuously while you change it. This can
be used to set up a mix while the music is playing. Switch between Parts
(and Tracks) and change the value for each until the desired mix is reached.
But, if you hold down [Alternate] while changing the value it is not sent out
until the Part is played back next time.

Filters

These fillers prevent output of certain types of MIDI data' from the Part.

They affect recorded or directly input data (in an Edit window), and Pro¬
gram Change and Volume values entered in the Part Info box.

To filler out one type of data, click on its name so that it is shown as white
text on black.

Cubeal

9-21

Handling Parts

Ghost Parts

Often you will want to dub a certain Part, i.e. make several instruments (or
sounds) play it This is accomplished by using Ghost Parts. A Ghost Part is a
linked copy of an existing Part This means that even though the original
and the copy share contents (notes and other MIDI data) they may play back
on different MIDI Channels and Outputs and with different settings of the
Part parameters (see page 9-16).

To create a Ghost Part, do a copy, but instead of holding down the
[Alternate] key, hold down [Control] and drag. The Ghost Part is shown
with a dotted outline.

A Ghost Part can be moved as any other Part. It can also overlap existing
Parts, just as any other Part.

Re^l Part

I Giilo s't ' Pa r t .:

If you edit the original or the Ghost Part in any of the Edit windows, the
changes show up in both the original and the Ghost Part. But, the changes
don't take effect for the other Parts until you exit the Edit window by
clicking on Keep (see page 17-3).

If you alter the contents of a Ghost Part by recording over it, merging it
with an other Part or by splitting or joining, it is automatically conver¬
ted to a regular copy.

Do not Edit (in an Edit window) several Ghost Parts at the same time
that are made up from the same Real Part. It won't make the program
crash or anything, it will just lead to confusing results.

9-22

Cubeat

Handlintz Parts

Real-time Thru

In most recording situations, Cubcat's Thru functions is used to "echo"
incoming MIDI data via MIDI Out. If you use the Thru function, the MIDI-
data that you send in to Cubeat via MIDI In is modified in real-time by some
of the Part Info parameters. This means that if you for instance set a transpo¬
sition value of 7 and play your keyboard, all notes coming out via the MIDI
Out on the ST arc transposed a perfect fifth upward.

This allows you to try out what effect a certain parameter setting will have
on the music, before and when you record something. Since different Parts
can have different settings you must select the right Track and check that the
Song Position is somewhere within the Part that has the settings you want to
try.

It doesn't matter which Part or Track you have visible in the Part Info
box (you may have stepped through the Parts and Tracks with the
arrow keys on the computer keyboard), it is only the Song Position and
Active Track which determines which Part's settings should be used for
the real-time modification.

TRRCK

1 B

_1_1_1_1 ^1_L_

I- 1

J_L- W

Trk

1 fle tiU 0 T rk

1 1 IT II

|Trk 1

The Pari in ihe "cross" made up by ihe Active Track and ihe Song Position is used for real-
time Thru-ing.

The parameters that are used for modification in real-time are: Transpose,
Velocity and Compression.

You can also thru-put to up to four Instruments (Outputs and MIDI Chan¬
nels), see page 16-9.

Cubeat

9-23

Handling Parts

9-24

Cubeai

Cycle and Cycled Recording

Cycle and
Cycled Recording

Cubcat

Cycle and Cycled Recording

You may want to repeat a certain part of your music over and over again,
just for listening, for rearranging, for editing or for setting playback parame¬
ters for the Parts. This is done with the Cycle function. You can also record
in Cycle mode.

Cycle is activated and deactivated by clicking on the Cycle button on the
Transport Bar or by pressing [/] (slash) on the numeric pari of the computer
keyboard.

The cycle start and end is set with the Left and Right Locators.

If you manually punch in before the Left Locator in Cycle mode, the
Cycle i.s automatically turned Off.

Cycle During Playback

You can do anything while in Cycle playback mode. You can select and edit,
quantize, delete, move or create Parts and more. You can also change the
Left and Right Locator positions to move the cycle, or even turn off Cycle at
any time.

If you start playback before the cycle, the music plays until it reaches the
Right Locator, and then cycles between the Left and Right Locator. This can
for example be used for fade-outs at the end of a song.

Other examples of cycled playback:

• Cycle a drum and bass section and adjust velocities, Quantizing and
delays to fine tune the groove.

• Rehearse a part that you are about to record.

• Move different Parts out from, and into, the cycle to try out an
arrangement,

• Restrict editing in one of the edit windows to a certain part of your
music, and more...

10-2

Cubcat

Cycle and Cycled Recording

Cycled Recording

You can also record inside the cycle. Recording is activated just as usual,
either directly from the position of the left Locator, manually by punching in
somewhere inside {not before) the cycle, or by automatic punch in. Cycled
recording first of all allows you to add notes or other MIDI messages on
each lap, but there are three different modes to work in, each one with its
distinct advantage. The following is a short list of what the possibilities are.

• You can switch Tracks at any time in Cycle Record mode, just as in
normal recording. This makes recording short sections or setting up
grooves very fast.

• If you make a mistake you can delete the whole recording or just the
last "lap".

• You can activate and deactivate recording at any lime, and as many
times as you wish.

• You can turn off Cycle at any time, if you want to record past the
Cycle.

• You can switch to an Edit window at any time and make changes
there, just as in normal recording.

• You can Quantize just the last lap or have Quantizing happen
automatically.

When you record in Cycle Mode, the Part created always gets the Left
and Right Locator settings as Start and End Point (except when you
record during the Precount).

If you manually punch in before the Left Locator in Cycle mode, the
Cycle is automatically turned Off.

Cubeat

10-3

C ycle a nd Cycled Recording

Cycled Recording Modes

On the upper right hand of the arrange window is a small box labelled Cycle
Mode. This is used to select one of three "behaviours" when recording in
Cycle Mode.

cycle mode mix m

MIH

NORMAL

These modes apply to the recording done now, not what has previously
been recorded on the Track (Punch, for example, doesn't delete any
earlier recordings).

Mix

Mix mCKle allows you to add more music for each lap in the Cycle.

Punch

In this mode Cubeat automatically punches in the moment you play any¬
thing on a lap. Use this to record a small section at a time. When you start
playing in a cycle, your first note acts as an automatic punch in. If you for
example have a cycle of eight bars and everything is perfect up until the
beginning of the sixth bar, you just have to wait until the music reaches this
point, and start playing there. Everything that was previously recorded
(during this recording) from the sixth bar to the end of the cycle is instantly
erased and replaced with what you now play.

Normal

The name Normal mode refers to the way Cubeat behaves during normal (as
opposed to Cycled) recording.

First of all, earlier recordings (recordings made before you pressed Record
this time) arc kept in Overdub mode and erased in Replace mode, as always.

Now for how Cubeat behaves in Normal mode during Cycled recording:
Each time you enter a new lap, recording starts afresh if you play anything

10-4

Cubcal

Cycle and Cycled Recording

at any time during the lap. This means that if you play something duiinga
lap, everything you had recorded on an earlier lap is erased.

When you stop, the last complete recording (one complete lap) is kept.

But, erasing doesn’t happen until the end of the Cycle. So if you stop before
the end, this last recording is deleted (if you played any notes on this lap)
and the previous one is kept instead.

This means that when you stop, the last complete recording (one complete
lap) is kept.

In Normal Mode you only hear what you are actually playing, plus what
might have been recorded before on the Track, if you are in Overdub
mode of course. If you are in Replace mode you only hear w hat you are
playing, since any earlier recordings are replaced. In other words: the
music you are recording in one lap in Normal mode is not sent out on
the next lap(s).

Cycled Recording Functions

These Functions come to good use during regular Cycled Recording. But
they are absolutely invaluable when Multi Recording in Cycled mode.

In regular Cycled Recording these functions are found on a pop-up menu
that appears when you press the mouse button with the pointer over the text
"Cycle Mode" (in the top right comer of the Arrange window) while recor¬
ding.

Key Erase

To erase all notes played with a certain key, or keys, (F#3, AO or whatever)
in the recording, first press the relevant keys. Then, select this item from the
menu or hold down [K] on the computer keyboard.

Delete SubTrack

If you make a mistake and don't wish to keep anything of what you’ve just
recorded, select Delete Subtrack or press [B] on the computer keyboard, and

Cubeal

10-5

Cycle and Cycled Recording

ihc Pan is cleared (bul nol deleted). Then you can instantly start inputting
music again, without ever leaving Record mode.

Delete Last Version

If you just made a mistake on the last lap, select Delete Last Version or
press [VJ on the computer keyboard. This erases your last recording. It
doesn't matter if you didn't play anything for several laps, the last lap Unit
you recorded anything on is erased.

Quantize Last Version

This Over-Quanti/.es everything you played on the last lap, to the set
Quantize value. Select Quantize Last Version or press [N1 on the computer
keyboard. And just as with Delete Last Version, it doesn’t matter if Cubeat
has played back tlic Cycle several times since you last played anything, the
last lap you recorded anything on is Quantized anyway.

10-6

Cubcal

The Edit Menu

Cubeal

The Edit Menu

This Chapter describes the Edit menu except for the items Grid, Drum,
Key, Logical and Master Track, which are important enough to get
their own Chapters.

Undo

You can undo your last action by selecting this item from the Edit menu or
by pressing [Undo] On the computer keyboard. This is very helpful when
something doesn’t turn out as intended. Remember that it is only the last
action that can be undone.

If something strange happens as a result of a command or a procedure,
don't do anything to try to repair it before you try to Undo.

The menu item Undo also tells you what it is that will be undone at any
given moment. If it e g says Undo Delete, the last Deletion will be
undone.

If you wish to "Undo the Undo", this is possible. The menu text changes to
Redo after an Undo (for example Redo Delete). If this menu item is
grey, nothing can be undone. The following is a list of the operations that
can be undone.

Arrange window
The last recording
Move Part(s) ‘

Delete Part(s) ,

Duplicate Part(s) (by> dragging)

Merge Parts
Split Part
Join Parts

Change Length of Part
Repeat Part(s)

Match Quantize
Delete Track |

Move Track

Duplicate Track (by dragging)

Unpack Group

11-2

Cubeal

The Edit Menu

Edit windows
The last recording
Move Evcnl(s)

Delete Evcni(s)

Keep Evcnt(s)

Copy Event(s)

Cut

Paste

Delete

Everything on the main Functions menu
Everything on the pop-up Functions menu
The last Tool action

Plus that everything done since you entered an Edit window can be un¬
done by Cancelling all changes (click Cancel on the window's title bar).

Cut

This command lakes the selected object or objects, whatever they may be,
and deletes them from the window and puls them in a temporary, invisible
memory location called the Clipboard. The keyboard command for Cut is
[Conirol]-[X]. If nothing is selected, this menu item is dimmed (grey).

You can Cut several objects at the same time and they are all put on the
Clipboard, but only one set of objects can be put there at a time. As
soon as you Cut again (or Copy), whatever was on the Clipboard is lost
and replaced by the new Cut (or Copy).

The objeci(s) on the Clipboard can later be Pasted in. Culling and Pasling is
a way of moving objects. In the Arrange windows you Cut (and Copy) Paris.
In ihe Edit windows, you Cut (and Copy) notes and other MIDI events.

Cubeai

11 -3

The Edit Menu

Copy

This command works as Cut, but it doesn't delete the objects, it just takes a
copy of them and puts this on the Clipboard from where it later can be
pasted in. The keyboard command for Copy is [Control]-[C]. If nothing is
selected, this menu item is dimmed (grey).

The Clipboard rules apply as when Cutting, and there is only one
Clipboard for Cut or Copied objects.

Copying and Pasting is a way of duplicating objects. Under the heading Cut
above, you can see what can be Copied.

Paste

When you have put something on the Clipboard, by Cutting or Copying, you
use the Paste command to put it back in. You can Paste the same objcct(s) as
many times as you want from the Clipboard. The keyboard command for
Paste is [Control]-lV]. If nothing is on the Clipboard, this menu item is
dimmed (grey).

Objects are always Pasted in at the current Song Position.

You can Paste objects from one Arrange window to another and from
one Edit window to another, but not between the two types of windows
(which wouldn't make much sense to do either).

Delete

You can also Delete selected objects. This is pure eradication (but it can be
Undone). There is also a special [Delete] key on the computer keyboard.

More info on Cutting, Copying, Pasting and Deleting's found on page 9-11
for the Arrange window and page 17-6 for the Edit windows.

11-4

Cubcat

The Edit Menu

Select All

This command jusi selects all items in the window (Paris in the Arrange
window and events in the Edit windows). It can be accessed from the
computer keyboard by pressing lControl]-[A].

This command opens up the Part Info box. Its computer keyboard equivalent
is lControl]-[I]. More about this is found on page 9-16.

Note Pad

This utility allows you to make some text notes that are saved with the

Arrangement. It is reached from the Edit menu or by pressing [Control]-[B]

on the computer keyboard.

• Press [Return) when you reach the end of a line.

• Use [Backspace] to delete text.

• You can use the [<—] and [-^] arrows on the computer keyboard, to
move through the text on one line, and the [T] and [i] arrows to step
through the lines.

• Use the arrow buttons («< and »>) below the text to move to the
next/previous page.

• Click Exit when you arc ready.

Cubcai

11-5

The Edit Menu

Cubcal

Ouanti/iniz and the Functions Menu

Quantizing and the
Functions Menu

Cubcat

Quantizing and the Functions Menu

Quantizing

You can Quantize notes using different methods listed on the Functions
menu or by using one of the tools in the Toolbox in the Arrange window.
Quantizing is a means of automatically adjusting notes to some set value
according to some method. This can be used either to correct imprecise
playing or to create certain rhythmic feelings. Quantizing in Cubeat is not
just a way of tidying up, it is a creative feature.

Only notes are Quantized. Other MIDI messages are left intact.

• If you Quantize from the Arrange window, all notes in all selected
Parts are Quantized.

• If no Parts are selected, all Parts on the active Track arc Quantized.

• If you Quantize from one of the Edit windows, all or some notes in
the selected Part(s) arc quantized.

• Quantizing is done according to the Quantize value set in the window
you are working with.

In the Arrange window, this is a Pop-up menu in the box Quantize at
the lop of the window. Press either mouse button in the box, and
select a value.

QURKJIZE

CVCLE

6A1

6A 64.

32T

32 32.

16T

16.

Cubcal

Quanti/ing and the Functions Menu

In the Edit windows you will also find a box, labelled Quant. Use it to pull
down an identical menu. These arc the possibilities:

1. Quantizing is done

1 Quantizing is done

IT Quantizing is done

2. Quantizing is done

2 Quantizing is done

2T Quantizing is done

4. Quantizing is done

4 Quantizing is done

4T Quantizing is done

8. Quantizing is done

8 Quantizing is done

to closest dotted whole note,
to closest whole note,
to closest whole note triplet,
to closest dotted half note,
to closest half note,
to closest half note triplet,
to closest dotted quarter note,
to closest quarter note,
to closest quarter note triplet,
to closest dotted eighth note,
to closest eighth note.

... and so on down to 64T (which of course is sixty-fourth note triplets).

You can also select new Quantize values from the computer keyboard. Use
the keys [1 ] to [7] at the top of the typewriter keyboard to select the nume¬
ral, and the keys [TJ and [.] to turn on and off the triplet and dotted options.

• Select the desired Quantize value, and then the type of Quantizing
you want from the Functions menu (see the heading "The Different
Types of Quantizing" on page 12-4), and the notes gel quantized.

Undoing Quantize

Quantizing is not definite or irrevocable. You can always re-quantize to
any value, even to Off, unless you specifically ’’freeze” your Quantize,
see page 12-9.

This means that notes quantized to eighths can later be quantized to six¬
teenths. The original (un-quanlized) positions of the notes are used for
determining how notes should be moved, except when using Iterative
Quantize. You can also re-quanlize just some notes on one of the edit pages.

Cubeat

12-3

Quantizing and the Functions Menu

To completely restore the recording to its original state, select Undo Quanti¬
ze from the Functions menu or press [U] on the computer keyboard.

Automatic Quantize

This is a function that works in Cycle Mode only. It allows you to have
everything automatically Quantized as you go along with your recording.

You will find the text AQ in the Cycle Mode box at the top right part of the
Arrange window. This text is a button that can be turned on or off by
clicking on it. When activated, the text is black, and when inactive the text is
grey.

CVCLE MODE PUNCH AQ

When automatic Quantize is activated. Quantizing is done to the set Quanti¬
ze value, according to the Over Quantize method. This Quantizing can be
Undone as any other.

There is one thing to note. If you have this function activated, your re¬
cording gets Over Quantized at the end of each Cycle. Even if you select
some other type of Quantizing (like Iterative Quantize) during the
Cycle, the music will be Over Quantized at the end of the Cycle. So,
before you manually Quantize, turn this function off (which of course
can be done without deactivating recording).

The different types of Quantizing

Over Quantize

This type of Quantize is the most plain musical one. It moves the notes to
the closest Quantize value. But, it detects if you consistently play behind of,
or ahead of the beat, and uses this fact when moving the notes so that the
feel of the recording is retained even though errors are detected. And, it
recognizes chords and adjusts the start point and the length of the notes in

12-4

Cubcat

Quanti/ing and the Functions Menu

them to perfect your chord playing. Over Quantize can be selected from the
computer keyboard by pressing [Q].

Note On Quantize

The start of the note is moved to the closest Quantize value, but the length is
kept intact. This is the "classic autocorrect", though not necessarily your
best choice for normal Quantizing. Note On Quantize can be selected from
the computer keyboard by pressing [W].

Iterative Quantize

This type moves the notes towards the selected Quantize value. An example:
you can Iteratively Quantize a straight eighth note pattern more or less
towards eight note triplets, to create a shuffle feeling. Selecting this type of
Quantize several times moves the notes nearer the note value for each time.
Iterative Quantize can be selected from the computer keyboard by pressing
[E].

You can set parameters for the Iterative Quantize in the dialog box that pops
up when you select Edit Quantize from the Functions menu. In the lower
half of this you find two settings called Strength and Don’t Q. These can be
set using the left and right mouse button as usual.

Strength

This is how much the notes should be moved towards the selected Quantize
value. The higher the value the greater the effect. 100% is the same as
normal Quantizing to the selected value, and 0% will give you no effect.

Don’t Q

This allows you to exclude certain notes from the Quantizing. This is how it
works:

Iterative Quantize doesn’t move notes that are already close to the Quantize
value. And "Don't Q" is the parameter that decides what "close" means in
this matter. It is the number of fractions (or ticks) between 0 and 96 (up to

Cubcai

12-5

Quantizing and the Functions Menu

an eighth note) that a note can differ from the Quantize position without
being moved.

A couple of examples:

Quantize value: 8

Don't Q: 24

Strength: Any

This only Quantizes notes that fall longer than a thirty-second note from the
eighth note.

Quantize value:

Don't Q:

Strength:

This is the same an
as a 16th note.

Quantize value: 8T

Don’t Q: 0

Strength: 10

Quantizing a Part towards triplets can be done in small steps. In this case all
notes are moved towards eight note triplets in steps of 10%. Select Iterative
Quantize several times and the notes move nearer for each time.

You can’t always easily Undo this type of Quantize since it uses the last
Quantize for determining how notes should be moved. If you wi.sh to
experiment, do this from inside an Editor, since this allows you to
Cancel all changes.

Any

not quantizing any notes at all, since 48 ticks is the same

Analytic Quantize

You should only use this type of Quantize when you have mixed straight
notes and triplets in a Part, or when you have played glissandos. The
Quantize value has no effect. Cubeat analyses the music, detects the mixed
tiiiiing values and Quantizes accordingly.

12-6

Cubcal

Quantizing and the Functions Menu

Match Quantize

This type of Quantizing allows you to match the feel and dynamics of one
Part with the feel and dynamics of another. If you for instance have made up
a great "live" hihat Part and wish to pass the timing of it on to a bass drum
you should use Match Quantize.

This type of Quantizing takes the positions and, if you so wish, the veloci¬
ties of the notes in one Part and uses them for moving notes in another Pan.
But the set Quantize value is also of interest.

Say for instance that you have a bass drum playing on every beat (quarter)
in a bar. The feel of this is to be passed on to a hihat playing eighths.

B ass Drum

<>»<t> g~<i> <> <1:

But, you don’t want all notes in the hihat Part to be moved to the quarter's of
the bass drum, since this would not give you an eighth note hihat Pattern but
a strange quarter note one. You only want every other hihat "note" to be
affected.

So, you use the Quantize value to put a raster on the Match Quantize effect.
If, in our example. Quantize was set to 8, the quarter notes in the hi-hat
would be moved, but the eighth notes between them would "slip through",
and not get Quantized.

12 3 4

Ra«nnim

1 2 3

Hiha. ^ <>

'OO

Cubeal

12-7

Quantizing and the Functions Menu

If on the other hand it was set to 4, all hihal notes would be moved to the
closest bass drum.

1 2 3 4

f ^ f » I J ^ ^ T ’»-T»rT-rTT"T’T’T-r‘*^

▼ w « f

<t>

Bass Hfnm T _

Hihal ^

4 ^ ■■

■W"

The grey notes indicate double hihals as in the example.

Do not confuse this with grey notes in Drum Edit or Groove Edit.

The Quantize value is used to put a filter, or raster, on the Quantizing so that
notes in the "affected Part" that are close to notes in the "feel Part" are
moved, while notes that are closer to one of the Quantizing values between
the dots arc unaffected. If this all sounds technical, experiment a bit and you
will soon get the hang of it.

To use the Match Quantize function, hold down the right mouse button to
bring up the tool box. Select the Match Quantize icon.

With the left mouse button, drag the part that has the feel you want, so that it
is positioned over the Part that you want to Quantize, and release the mouse
button. A dialog box pops up, asking you if you want to pass on the velocity
values as well. Click Yes or No.

If the "feel Part" is shorter than the "affected Part", the "feel Part's"
contents is repeated so that the whole "affected Part" is Quantized by
the operation.

When you arc finished, press and let go of the right mouse button once, to
bring back the arrow pointer. Or, select another tool from the Toolbox.

12-8

Cubcal

Quanti/ing and the Functions Menu

Freeze Quantize

As said above, you can Re-Quanlizc or Undo Quantize at any time. But you
may want to make the current Quantizing permanent To do this, select
Freeze Quantize from the Functions menu.

An example: You want to create a perfect shuffle using Iterative Quantize,
but the part you have is so sloppily played it doesn't give you the strict
feeling you are after. This happens since the original recording (un-quanti-
zed) is used for determining how notes should be moved when you use
Iterative Quantize the first time.

Now, first Quantize using one of the other types (Over- or Note On Quanti¬
ze) to correct the playing. Then, select Freeze Quantize to make the current
positioning permanent. And last, change the Quantize value and set the
Iterative Quantize parameters and select Iterative Quantize from the Func¬
tions menu.

Other Functions

There are other types for automatic handling of MIDI events on the Func¬
tion menu. The same rules as for Quantizing are used to decide what gets
affected. That is, if you use any of these commands in the Arrange window,
all events in all the selected Parts, or all Parts on a Track are affected, and if
you select the function from one of the Edit windows, you can direct the
operation to just some of the events.

These functions can not be undone. If you feel insecure about what you
are doing, try out these commands in an Edit window, since this allows
you to Cancel any changes.

Cubcai

12-9

Quanti/ing and the Functions Menu

Legato

This function corrects your legato playing. The Quantize value has no
purpose foi it, but there is a Legato Overlap parameter in the Edit Quantize
dialog box where you can set a number of ticks, positive or negative.

• If you set this to positive values, all notes will always overlap with at
least the set number of ticks. This means that if two notes don't
overlap enough or at all, before you select Legato from the Functions
menu, they will be lengthened so that they overlap the set number of
ticks.

• If you set this to negative values, there will always be a gap between
notes. This gap will be at least the number of ticks set in the Edit
Quantize dialog box. Notes will be shortened if necessary to produce
the gap. This is useful when you want to make sure that a line you
recorded doesn't lake up more than one voice on an instrument, for
example a sampler with so called "fixed voice allocation".

Length size

This command Quantizes the length of notes without moving their start
points. In other words, the length of all notes is changed to the closest
Quantize value, but the start position of all notes is left intact.

Fixed Length

This sets all notes to the same length without moving their start points. They
get the length of the Quantize value. If you set Quantize to 4 and select
Fixed Length from the Functions menu, all selected notes become quarter
notes. This function used in combination with Note On Quantize produces
dead straight notes with identical lengths.

12- 10

Cubcai

Quantizing and the Functions Menu

Delete Cont. Data

This command erases all continuous data such as Controllers (modulation,
volume, breath controllers and so on). Pitch Bend and After Touch. Notes
and Program Change messages are left intact. Its computer keyboard
equivalent is [Conlrol]-[F].

The definition of Continuous might require some explanation. Even though
some controllers are not used continuously—a sustain pedal might be
pressed only every now and then, and a mode message could be sent out
only once in a song—they are part of MIDI’s family of continuous messages
and therefore erased.

Delete Doubles

This command erases all double notes. These doubles mostly occur when
you record in Cycle Mode (with or without Multi Record activated) and
repeat for instance a snare drum on a second lap. Double notes could be hard
to hear, but sometimes they sound like short delays or flanger effects. Or
even just as one extra loud note. Delete Doubles' computer keyboard
equivalent is [Control]-[H].

Two notes arc considered as double when they have the same note number
(the same key) and have identical start points.

Reduce Cont. Data

Controller data, such as modulation or volume changes, are often recorded
with a higher precision than is needed. The ear isn't as sensitive to changes
in volume or changes in vibrato depth as it is to changes in pitch, so you can
usually skip some of the controller data recorded.

The problem with too much Controller data being sent out has to do with
MIDI's limitations. Only so much data can be sent down one MIDI cable at
a time. Controller data take up a lot of "space" and if you feel that you have

Cubcat

12-11

Quantizing and the Functions Menu

problems with liming due to hefty use of controllers, you could try this
command.

Generally, Cubcal isn’t the problem itself, especially not when several
Outputs arc used, as with the SMP-24. Cubcal has invisible routines for
keeping the liming perfect in all instances. But, the receiving instrument
might still have problems with handling large amounts of incoming MIDI
data.

This command pcmiancnlly reduces the amount of existing Controller data
after a fixed method in the program. If you try it from an Editor you always
have the possibility to Undo the change.

Transpose/Velocity

This command opens up a small dialog box allowing you to permanently
Transpose notes or add/sublracl figures to the velocity values. This function
also operates on some selected Parts in an Arrange window or some selected
notes in an Edit window. It differs from the parameters in the Pari Inio box
in that this is a permanent change to the actual note data.

Use the left and right mouse button to in/decreasc the values and complete
the operation by clicking OK or pressing [RclumI or [Enlcrl on the compu¬
ter keyboard. Or if you change your mind, click Cancel.

If you feel insecure about what the effect of transposing or adding velocity
values really is, check page 9-19 where this is described for the Part parame¬
ters.

12-12

Cubcal

The Structure Men u

The Structure Menu

Cubeat

The Structure Menu

Create Track

This command creates new Tracks. Its keyboard equivalent is [Control ]-[T].
The first Track gets the name Track 1 and the consecutive Tracks arc
numbered from there on. More about managing Tracks is found on page 5-4.

Global Cut

This command cuts out a piece of the virtual tape on all Tracks. The piece
that is cut is the one inside the Locator Positions. For instance, setting Left
Locator to 2. 1.0 and Right Locator to 4. 1. 0 and selecting Global Cut
1 emoves bars two and three from the whole song.

In other words, Global Cut removes a section of the music on all Tracks.
Any Parts that lie inside the Locator Positions are shortened (cut).

This is good for shortening a special section of your song or for rearranging,
like turning a double chorus into a single.

Muted Tracks (see page 14-2) are excluded from the operation, i.e. they
are not Cut, but the Master Track is affected like any other Track.

Global Insert

Tlie opposite of Global Cut. A "piece of tape" is inserted between the
Locator Positions. To insert four bars at the beginning of bar three, set the
Left Locator to 3.1.0 and the Right Locator to 7. 1.0.

When you use Global Insert, all Parts that started after the Left Locator
Position arc moved the selected amount of bars. Parts that have their start
point before the Left Locator and their end point after it, are lengthened the
selected amount of bars, but of course contain no events in their lengthened
sections.

13-2

Cubcai

The Structure M enu

With Global Cut, muted Tracks are excluded from the operation, but
the Master Track is affected like any other Track.

Global

This works like the Split tool (the scissors) in the Toolbox, only it splits all
Parts on all Tracks and at both the Left and Right Locator Positions.

Muted Tracks are excluded from the operation.

Copy Range

This command is used to copy a section of the music, on several Tracks, to
some other position in the Arrangement. You set the Left and Right Locator
to the beginning and end of the section you want to copy. Then you set the
Song Position to the point where you want the copied section to wind up.

When you select Copy Range from the Structure menu, Cubeat makes up
one new Part for each Track, containing all the music between the Locators,
and then puts (pastes in) these new Parts at the Song Position.

Muted Tracks are excluded from the operation.

Remix Track

If you have one or several Parts containing events on several MIDI Chan¬
nels, these Parts can be split up into new Parts, one for each MIDI Channel.
To use this Function to its full potential you should have come to grips with
MIDI Channels in general, and especially Cubeat's MIDI Channel setting

No".

If you for example record with a split keyboard that sends on two MIDI
Channels, or if you record music from one sequencer to another, you will

Cubeat

13-3

The Structure Menu

have a mix of notes in the Part, with different MIDI Channel numbers as an
integral part of them. If you set the Track they arc on to MIDI Channel
"No", the events will be played back on the channels stored with them. But,
you still can't edit them independently. Remix Track therefore allows you to
split up a Track into new Parts on new Tracks so that events get separated
according to the MIDI Channel they are on.

Select a Track to be Remixed. Set up the Left and Right Locators as bounda¬
ries for the split. All music between the Locators will be Remixed. Select
Remix Track from the Structure menu. As many new Tracks as arc needed
arc created. New Parts with events on one MIDI Channel each arc created
on those Tracks, between the Left and Right Locators. Each Track is set to
the same MIDI Channel as the events in it.

Mix Down

Mixdown allows you to merge all Parts on some (or all) Tracks into one
composite Part. To make use of all the information stored in that created
Part you will probably use this feature in combination with MIDI Channel
"No". You need to know how MIDI actually handles the Channels to make
full use of this feature.

Nonnally you set a Part or a Track to play back on a certain MIDI Channel.
This means that it doesn't matter what MIDI Channel the recorded messages
were coming in on, this is changed to some other value on playback anyway.
But if you set a Part or a Track to MIDI Channel "No" (see page 9-4) you
make it output on the MIDI Channcl(s) actually stored with the events in the
Part(s).

When you Mixdown, the MIDI Channel that the Parts are set to will be
stored as a permanent part of their MIDI data. That is, the MIDI Channel set
for each Part replaces the MIDI Channel originally recorded. So, when you
play back the Mixdown Part with the MIDI Channel set to "No", you will
actually get the same thing back as when you played back all the Tracks that
arc now merged into the Mixdown Part.

13-4

Cubcat

The Structure Menu

Furihemiore, the Playback parameters are also passed on to the Mixdown
Part For example, a temporary transposition in one of the Parts will be a
permanent one in the mixdown Part. The Output setting, on the other hand,
is lost in the Mixdown, since one Part can output on one Output only.

The Left and Right Locator are used to determine the start and end points of
the mixdown Part, so set these to the desired values.

Muted Tracks (see page 14-2) are excluded from the Mixdown. Drum

Parts with the Drum Map parameter set to On are mixed down after

the 0-Note setting. I

Once you have set the Locators and muted the Tracks you want, you just

have to select a Track for the Mixdown Part. After that, select Mixdown Part

from the Edit menu, and the Part will be created. It will get the name

Mixdown.

Tracks (hat are included in the mixdown can be set to MIDI Channel "No"
themselves, so that their original MIDI Channel values will be preserved in
the Mixdown Part.

Create Part

You can create an empty Part in three ways:

□ By double clicking in an empty (white) area in the Part Display,
between the Left and Right Locator.

□ By selecting Create Part on the Structure menu.

□ By pressing [Control]-! P] on the computer keyboard.

The created Part winds up on the selected Track and begins at the setting of
the Left Locator and ends at the Right Locator. A Part created this way
never replaces an existing Part, but may very well overlap one.

Repeat

This function simply repeats the Pari(s) selected, and lines up the copies end to
start after the original(s). The Parts selected are treated as one block, so the

Cubeal

13-5

The Structure Menu

relative spacing between the created Parts is determined by the beginning of
the first selected Part and the end of the last.

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repeated

When you select this item from the Edit menu (or press (Controll-[K] on the
computer keyboard) a dialog box gives you the option of deciding how
many copies you want, and if the copies are to be Real Parts or Ghost Parts.
Use the left and right mouse button to set the values, and click on OK or
press [Return] on the computer keyboard if you want to proceed. Click
Cancel or press [Esc] if you change your mind.

Cut Notes

Cubeat works differently from MIDI when it comes to handling notes.
Where MIDI store Note 0ns and Note Offs, Cubeat stores Note 0ns and the
notes* lengths. This means that even if you change the length of a Part by
using the Pencil or Scissors Tool you may get notes that play past the end of
the Part This is a valuable feature, but you may not always want this to be
the case. If you want to make sure that all notes in a Part end where the Part
ends and not later, you should use Cut Notes.

Select the Part(s) that are to have their notes Cut, and select this command
from the Structure ^lenu.

Cubeat

Ih^^^trucl u r£ en u

Groups

You can create Groups in the Arrange window. A group is a collection of
Parts (some or all Parts in an Arrange window) grouped together. This group
can be handled as if it was a Part of its own. It is played back from a special
Group Track. Groups can be used in many ways.

• Group all the brass parts in a chorus (trumpet, sax, trombone...) so
that they can be handled as a section of the orchestra and easily be
repeated in every chorus.

• Turn every section of a song (intro, verse, chorus) and so on, into a
Group so that the song can be remodelled fast on a separate Group
Track.

• Build up each Part of the song (intro, verse, chorus.,,) in one Arrange
window each, and assemble the song on a Group Track in yet another
Arrange window.

As you understand from the examples above, the Groups are global for the
whole Song. A Group created in one Arrange window can easily be played
back in another. All in all you can have 64 groups, which are saved with the
Song.

Cubcat

13-7

The Structure Menu

To create a new Group

You can create a group by selecting the Parts you want and then use "Build
Group" on the Structure menu. A dialog box appears where you can enter or
edit a name as usual, and where you have three options: to create a new
group, to replace an existing one or to add a Part to a Group. Pressing
[Return] on the computer keyboard is the same as selecting New.

H you want all Parts in an Arrange window to be put into the Group, use the
Select All command on the Edit menu, or press [Contrcl]-[ A] on the compu¬
ter keyboard.

New

To create a New Group, select the Parts you want to have in the Group.
Select "Build Group" from the Structure menu (press [Control]-[U] on the
computer keyboard). Enter a name for the Group (as usual) and click New
or press [Return] on the computer keyboard.

Groups created are shown in the Group List on the right side of the Arrange
window, see Hide Show/Groups later in this chapter.

The Parts keep their Part Info settings within the Group. They also
keep their relative starting points.

This means that all the Parts that are selected when you created the new
Group are considered as one block of music. This block is made up of
several Parts which all have a relation to each other, positionwise, and
which all send out on their respective MIDI Channel, and Output, and which
all can have different Part Info settings.

A Part can be used in more than one Group.

A Part isn’t muted or deleted or anything when it is used in a Group.
Parts can both be used as parts of groups and as regular Parts at the
same time. Therefore you might have to Mute the Tracks with the Parts
that make up the Group. More on this later in this chapter.

13-8

Cubcal

Th£ Structure Menu

Add

If you want to add one or more Parts to a certain Group, you must first select
those Parts, in the Part Display, and also Select the right Group in the Group
List. Then you can select "Build Group" from the Structure menu (or press
[Control]-[U]) and click Add.

The Added Parts keep their relative position in relation to the existing
Parts in the Group, and they also keep their internal relative starting
points.

Which basically means that they wind up where you want them. Let’s say
that you have a Part that starts one bar later than the first Part in a Group.
When you add that Part to the Group, it is put in so that it starts one bar later
than the first Part in the Group. The only exception is if the Part starts before
the Group, in which case it will be put in at the beginning of the Group.

Replace

You can also replace a Group completely with a new Group. This only
affects the contents of the Group, not the Group Parts on the Group Track. It
allows you to keep the siructure of the Song (as it is on the Group Track, see
later in this chapter) but to completely change the contents of for instance all
verses, all bridges or whatever (the Groups). Select the Parts that are to
make up the new Group. Select the Group in the Group List that is to be
replaced. Select "Build Group" from the Structure menu and click Replace.

The Group List

On the right side of the Arrange window a special column appears with all
the Groups visible, the Group LisL This is a scrolling list, you can click on
the arrows on the top and bottom if you have more groups than can be
shown in the column at one time.

This list is first displayed when you create the first Group. You can hide or
show this list at any time with the command .i.Hide/Show Groups; on the
Structure menu or by pressing [Control]-[J] on the computer keyboard. This
list appears in all Arrange windows that you open during the session, since
created Groups can be used in any Arrange window.

Cubeal

13-9

The Structure Menu

The Groups in the list are always sorted so that the Groups created in the
selected Arrange window appear at the top of the list.

The Group List and all the Groups in it are part of what is called a
Song. When you Save or Open a Song, all the Groups are saved/opened
with it. On the other hand, when you save an Arrangement, only the
Groups created in that Arrange window are saved.

Renaming a Group in the List

If you double-click on a Group in the Group List, a small dialog box appears
where you can change the name, in the usual way.

Deleting a Group from the Group List

If you drag a Group past the top or bottom of the Group List the whole
Group is deleted.

13-10

Cubeat

The Structure Menu

Deleting a Part that is in a Group

If you delete a Part from the Arrange window it is of course also deleted
from the Group. However, you can Undo the deletion in itself, but this docs
not put the Part back into the Group. Use this fact as a way of deleting Parts
from a Group.

Creating a Group Track

Before you can use the group you have to create a special kind of Track
called a Group Track. This is done by selecting Create Group Track from
the Structure menu or by pressing [Control]-[Y] on the computer keyboard,
Group Tracks are identical to regular Tracks, it's only that they play back
Groups instead of Parts. These are the differences:

• Group Tracks are always displayed at the top of the Track list.

• Group Tracks are given the name "GrpTrack" and a number when
they arc first created.

• Group Tracks can’t be set to a certain MIDI Channel, Instrument or
Output, since this is independent for each Part in the Group.

There is a thin dividing line between the last Group Track and the first
regular Track.

Using Groups on a Group Track

To use a Group, drag it from the Group List and put it somewhere on one of
your Group Tracks, just as when moving a Part from one section of the
Arrange window to another.

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Cubeat

13-11

The Structure Menu

A Group appears on the Group Track as a grey box with the name of the
Group in it. It is called a .i.Group Part;, and it is as long as the Parts it is
made up of. You can drag the same Group up onto one or several of the
Group Tracks as many times as you like, and place it on different Positions
in a song.

If you hold down [Alternate] while dragging, the Group Part will be inserted
on the Track instead. This means that all the Group Parts after it will be
moved down the line to make room for the new Group Part.

Remember that the Group List is global for the whole Song, so you might
very well use Group>; created in one Arrange window in a second Arrange
window, and even together with Groups created in a third (or fourth or
fifth...) Arrange window. Just select the window (or create a new one) that
you want to use the Group in, and drag the Group up to a Group Track as
usual.

Also remember that a Part can be used as it is, even though you have put it
into a Group. Therefore, you might have to Mute a Track (sec page 14-2) if
the Parts on it arc used in a Group and the Group is played back at the same
time as the Parts in it. Otherwise you will get double notes that might give
you an increase in volume, reduced polyphony or strange Hanger effects.

A Group Part has "living” links to all the Parts in it. If you delete it, it
disappears in the Group, and if you change its Part Info parameters,
this is also reflected in the Group. If you move it, however, this is not
reflected in the Group.

Once they’re on the Group Track, Group Parts are treated just as regular
Parts. They can be:

• Moved.

• Selected in any way that regular Parts can.

• Duplicated (Hold down [Alternate]).

• Muted.

• Deleted in any way that Parts can.

• Sized using the pencil tool.

If you add Parts to a Group, so that this lengthens the Group, this is not
shown in the Group Parts on the Group Tracks. However, it is possible to
use the Pencil tool to "pull out" the added music from a Group Pan.

13- 12

Cubcal

The Stru cture Menu

You can also use any function, like Quantizing, directly on a Group
Part, and this will Quantize all Parts in the Group.

Group Paris can not be:

• Recorded into.

• Merged with other Parts.

• Edited in any way (split, joined, or edited in the Edit windows).

Building the Group Track in Real Time

If you hold down [Control] and click on a Group in the Group List, it is
inserted on the active Group Track, at the beginning of the next bar. Just as
if you had dragged it there. This allows you to build the whole arrangement,
or parts of it, on the fly, while the music is playing.

If you have already made up the basics of your arrangement and wish to
experiment with adding Group Parts this way, create a separate Group
Track for the Group Parts you are adding in real-time. This will give you a
better overview of what is going on.

Group Transpose

Group Parts also have one Playback Parameter. If you click on a Group on a
Group Track, a dialog box opens up where you can Transpose the whole
Group Part.

Unpacking a Group Part

You can also lake a Group Pari apart into its original components by using
the Unpack Group command on the Structure menu. An example: you have
repeated a verse several limes during a piece of music by making a group
out of all the Parts that make up that verse. This Group has then been used
several times on a Group Track. Now you find that you want to make some
small changes to the first verse only. A convenient way to do this is to
Unpack the Group Part on the Group Track that plays that first verse.

Cubcal

13-13

The Structure Menu

It is the Group Paris on the Group Track that can be Unpacked, not the
Groups in the Group List.

Select the Group Pan on the Group Track that is to be Unpacked. Select
Unpack Group from the Structure menu. One of two things happens:

• If the Group was created in the same Arrange window as it is used,
Ghost Parts arc created on the original Tracks at the same Positions
as the Group Part.

• If the Group was created in another Arrange window, real Parts arc
created at the same Position as tlic Group Part. New Tracks arc
created as needed.

In both eases, the Group Part is of course removed from the Group Track.

Several Group Pares can be unpacked at the same time. Select the Parts to be
Unpacked and Unpack them. Unpacking can also be undone using the Undo
command.

The Group feature can be used to an extreme by making all different
sections of a song (intro, verse, chorus...) into Groups to get an overall
feeling of the structure of the song. Then you can Unpack alt Groups and
start making detailed changes. Just observe the difference between Ghost
and Real Parts.

13- 14

Clibcat

Mute and Solo

g Mute and Solo

Cubeat

Mute and Solo

On a standard mixing console you can mule (silence) one channel at a lime.
You can also mute all channels but one, which is called to ’’solo" that
channel. There are equivalents to both in Cubeat.

Mute

To silence a Track, click in the Mule column in the Track List. Muted Tracks
arc indicated by a black dot (1). Muling temporarily defeats all output from
the Track. If any notes sound the moment you Mule the Track, these arc
allowed to play until their end (not muled).

TRFiCK

•

Kit

□

Hats

I I : I

These two Tracks arc Muled.

You can mule as many Tracks as you want. By clicking again in the column,
you unmulc the Track.

You can also mute Parts individually using the Tool box mute icon.

Solo

^ SOLO J

V/hen you click on this button, or press [S] on the computer keyboard, all
Tracks except the selected one are muted so that you only hear the selected
Track. You can unmule one or more Tracks while in Solo mode if you want
to hear, for example, just how two or three tracks sound together. To
deactivate Solo, click on the button or press [S] again.

14-2

Cubcal

Mute and Solo

Preprogramming Mutes

You can also store ten Mule sellings, one under each of the function keys
[FI ] to [FI OJ on the computer keyboard. These can be used to instantly
recall any combination of muled Tracks.

Mule the Tracks desired as described earlier, using either the Mule function
or the Solo function. Hold down [Shift] and [Allemaie] and press the desired
Function key ([FI] to [FIO]). The Mule selling is now stored under that key.

All you have to do to recall a selling is lo hold down [Allemaie] and press
the corresponding Function key ([FI] lo [FIO]) once.

Recording Mutes and Solo

You can also record mules in several ways: Either record a single Mule-click
in the Track list, or a preprogrammed Mule on several Tracks (performed by
pressing [FI] lo [FIO]), or you can even record the fact that you activated
the Solo function. This allows you lo have automated mules happening at
certain positions on playback, as an alternative lo permanently deleting
some music or other information on a Track.

• First you must activate the Recording of mules by selecting the item
Record Tempo/Mutes on the Options menu so that it is licked,
(this flag is also used for recording tempo changes, see page 16-4).

• Then you must select a Track for recording the mules. This shouldn’t
be the same Track as the music is on. We strongly recommend you lo
use a separate Track for your mules, lo avoid confusion. One single
Track can be used lo record events that mule any and all other
Tracks.

• Now activate recording at some point. When you reach the point
where you want the mule lo happen, perform it by clicking in the
Mule column or by pressing one of the Function keys [FI ] to [FIO])
or activate the Solo function. Keep on muling and un-muling tracks
for as long as you wish and terminate recording as usual.

Cubcal

14-3

Mute and Solo

There aren’t really any restrictions to what you can do. Things can get
quite involved if you indulge in complex mute setups. Observe the
following:

Muting silences all output from a Track, notes, continuous
controllers. System Exclusive, everything. Which includes the mute
events themselves. So, if you use a Track to mute itself, by recording
a mute and after that an un-mute, the un-mute will never happen
since the Track is muted for all output (think about it and you'll
understand). This is why you should always record mutes on a
separate mute-Track, and never record any mutes for that Track.

A mute Track may of course be muted by another Track, which leads
to the same confusion as above.

Notes that have started before the mute are not cut off by the mute
itself. They always play to their end.

Solo is just a special case of mute, where all Tracks but one arc
muted.

The mute events that get recorded are of two types. Mute Events and
Un-mute events. When one of these events is played back, the Track
changes to the status of that event. This means that if the Track is
already muted when a mute event is played back, nothing happens.
This may sound obvious, but when you rewind or fast forward to
some point, and start playback from there, this might confuse you. A
Track that is "manually" muted is also un-muted by an Un-mute
event.

The Record switch (Ovcrdub/Replace) applies, so that you can
overwrite or add Mute and Un-mute events as you wish.

Mutes are chased (see page 16-2) if the Chase Events flag is turned
on, but only within one Part. Make sure to end your Mute recording
with the Track in the right status (muted or un-muted).

The mute events can be edited and moved in Grid Edit.

Seepage 19-10.

If you want to mute a Track from the beginning, put your Mute
Events one or two ticks before the first notes, so that you are sure the
first note also gets muted.

Cubeat

Mute and Solo

Ed Solo

This button activates a special Solo function for the Edit windows. This is
how it works: If you activate Ed Solo, you will only hear the Parts you are
working on (the selected Parts) when you enter one of the Edit windows. All
other Parts are muted. When you close the Edit window or select the
Arrange window again you hear all Tracks again.

It doesn't matter if you had Muted the Track with the Part(s) to be edited. If
you select Ed Solo you will hear those Parts in the Edit window.

Cubeai

14-5

Mule and Solo

14-6

Cubcat

The Master Track

Cubeal

The Master Track

The Master Track is a special 65th Track devoted to time signature and
tempo changes.

There arc three ways to display the Master Track and its entries:

• Select Master Track from the Edit menu.

• Press [Control]-[M] on the computer keyboard.

• Double click on the Master button on the Transport bar.

There arc two ways to activate the tempo changes set up on the Master
Track (make Cubcat follow the tempo settings on it):

• Click on the Master button on the Transport Bar

• Press fM] on the computer keyboard.

Cubeat always follows the Time Signature changes set up on the Master
Track. By activating and deactivating the Master Track, you decide if
Cubeat is to fallow the Master Track tempo setting or the direct tempo
setting (on the Transport Bar).

The entries in the list

The Tempo and Time Signature sellings are shown in a list which can be
scrolled using ihc scroll bar or the [T] and [i] keys on the computer key-
board. There are always two entries at the lop of the list, the Master Track is
never empty. These two are the initial tempo and time signature, positioned
at 1.1.0.

The four columns in the list display each entry's tempo related position,
tcmpo/limc signature value, and absolute (SMPTE) position. The only value
that can be changed directly in the list is the tempo/lime signature, which is
edited using the left and right mouse button (and maybe the [Shift] key) as
usual. Tempi have both an integer value and a fraction that can be changed
individually.

If you change the tempo value for an entry, this will of course change
the SMPTE time for the following entries, and if you edit the time
signature for an entry this will affect the following entries' measure
position.

15-2

Cubcal

The Master Track

Hide Tempo/Hide Time Signature

You can decide to Hide either all tempi or all Time Signature entries by
clicking on the two buttons, or you can decide to view both types.

Inserting entries

To insert a new entry you must first decide at what position you want it
inserted. Use the Song Position box or the SMPTE box in the Master Track
dialog box (not on the Transport bar) to define a new position, using the left
and right mouse button as usual. The SMPTE box below shows the absolute
position at which the entry will be inserted.

The Master Track has its own Song and SMPTE Position boxes .

Now it is time to decide if you want a new tempo event or a time signature
event, by clicking on the relevant button New Tempo or New Signature.
Time Signature events are always inserted at the start of a bar. Once the
event is inserted, use the left and right mouse button to change its values as
described above.

If you're work involves matching musical sections to certain SMFTE cues,
here is a tip:

To match a certain Position with a certain SMPTE time, first insert a
dummy event, like for example a Time Signature entry with the same Time
Signature value as the one before. This will (as all entries) get both a tempo
and SMPTE Position in the list. If you now change tempi before this entry,
the dummy entry is moved forward or backwards in time. You can adjust the
tempi integer and fraction values until the dummy event gets exactly the
SMPTE position value you desire.

Cubcai

15-3

The Master Track

Delete events

To Delete events, click on them (you may use the [Shift] key to select
several enU'ies at the same lime) and click on the Delete button or press
[Delete] on the computer keyboard.

Copy Section

This command works very much like the Copy Range command in the
Arrangement window. It copies all the Master Track entries between the
Left and Right Locator and inserts them at the current Song Position, with a
Snap to the closest bar.

The Overdub/Replace setting on the Transport bar applies, so that if you are
in Overdub mode, the entries are added to the existing ones in the list, and if
you are in Replace mode they replace the existing ones.

This means that if you copy a range that has no entries in it in Replace
mode, this is the same as deleting entries in the section you are copying to.
For instance, if the Left Locator is set to 1.1.0, the Right Locator to 5.1.0,
the Position to 9.1.0 and Record Mode is set to Replace, then Copy section
will delete all entries between 9.1.0 and 13.1.0.

Set up the Left and Right Locator and the Position (all on the Transport bar).
Click on Copy Section and the copying is done.

Clear Tempo

This button simply deletes all tempo entries from the list, except for the first.
Global Cut and Global Insert also affect the Master Track.

15-4

Cubcal

The Options Menu

_ The Options Menu

The Options Menu

Chase Events

When this function is on Cubcat tries to trace what has happened earlier in a
song when you start playback from some point in the middle. It then uses
the traced information to restore Controllers and Program Change settings.
The theory behind this has to do with the way MIDI handles Continuous
Controllers and other messages.

Say for instance that you had started a song by sending out a Program
Change command to make a synth switch to a piano sound (1). In the
beginning of the chorus you had another Program Change command to
make the synth switch to a string sound (3). If you would rewind to some
point between the beginning and the second Program Change (2), the synth
would still play the string sound although you wish it would be piano.
However, if you had Chase Events turned on, Cubcat would have tracked
the music back to the beginning (1) and would have found that first Program
Change. It would then have sent this out when you rewinded to 2, so that the
synth was set to the right Program.

£5

1111

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111 11 11

1 1 1 1 1 1 1

verse

cnorus

In other words, when Chase Events is turned on (licked, by selecting the
item from the menu) Cubcat checks the song from the beginning and tracks
all changes that have occured since 1.1.0. It then sends out the last value for
a number of parameters whenever you move to a new Position in any way
(Rewind, Fast Forward, by using the Position box, via sync chase or what¬
ever).

The effect of this is to restore the sellings to their values at the point you arc
moving to.

16-2

Cubcal

The Options Menu

This is what is chased:

□ As long as Parts are not set to MIDI Channel "No" on a Track,
Program Changes and MIDI volume are chased llffough the whole
Song, regardless of how many Parts it is made up of.

□ Inside a Part (played back from the Arrange window) all Controllers
with a number below 32 are chased. Also, Damper pedal, Channel
Pressure, Pitch Bend, Program Change, Note 0ns and Mute Events
are chased within a Part. So, if you want to make sure that chasing is
done on all these types of events, make up one Part on each Track for
the whole Song (by glueing Parts together).

Follow Song

Nonnally, the Part Display in the Arrange window and the Key, Drum and
Grid windows "move" (or "scroll") with the Song when you play back,
rewind, record and so on. You can turn this function on or off by selecting
or deselecting (tick or no tick) Follow Song from the Options menu. You
can also use [F] on the computer keyboard for this.

Reset on Stop

When this function is turned on, Cubeat automatically sets some MIDI
messages to zero values and sends out a couple of "reset messages", so that
you aren't left with "stuck vibratos" or transposed notes due to "hanging
Pitch Bends".

On the other hand, when this function is turned on, it mig^t reset things you
don't want zeroed, like for instance modulation values recorded at the
beginning of a song which are intended for a static effect throughout the
piece. The way MIDI works makes a compromise necessary.

Reset on Stop "zeroes":

□ Pitch Bend

□ Controller 1 (Modulation)

□ Channel Pressure

Cubeal

16-3

The Options Menu

It also sends out:

□ All Notes Off

□ Reset All Controllers

Tempo Recording

It is possible to record changes in tempo. There are three major uses lor this:

□ Recording the actual tempo settings while the music is playing back.

□ Setting out "markers" for tempo changes and then edit in the actual
tempo values in the .i.Master Track; afterwards.

□ Record tempo by tapping it, using Human Sync (see page 16-24).

When the Record Tempo/Mutes item is on (checked) on the Options
menu, and Cubeat is put into Record mode, it records any tempo changes
and puts them in on the Master Track (this flag is also used for recording
mutes, see chapter 14).

Make sure you don't overwrite (Replace) any regular recording when
Cubeat is put into Record mode. If you want to make real sure, select
an empty Track.

□ Tempo Recording works just as regular recording, using the
Locators, with punch in and out at any time and so on, but...

□ The Master Jracks is always in Replace mode, that is, the recording
always replaces the existing tempo events.

Once in Record mode, change the tempo value on the Transport bar. Each
time you change it, the new setting is recorded.

Remember that it is only tempo changes that are recorded, you may
have to set an initial tempo directly in the Master Track.

Recorded tempo changes appear in the Master Track, where they can be
edited as usual. >

16-4

Cubeai

The Options Menu

For the recorded tempi to have any effect on playback or future recor¬
dings you must of course switch Cubeat to Master (press (Ml on the
computer keyboard).

The Record Dialog box and
Multi Recording

The Record dialog box has two purposes. One is to decide what MIDI inputs
should be used for recording and the other is for setting up Multi Recording,

Record From-Inputs

It is not definite that Cubeat receives its input from the Atari MIDI In. Input
can come from a number of sources. It can come from any MIDI input on
any connected Device, and it can come directly from M«ROS, the operating
system behind Cubeat. This last option means that data coming from another
M«ROS program on the same computer or from an M*ROS program on
another computer can be routed as input to Cubeat Cubeat’s own Tracks can
be set to output via M-ROS.

So, the M'ROS alternative is an "invisible MIDI-chord" coming from some
output in your system that is set to send out via M-ROS.

Pull down the Inputs menu, and select the Inputs you want to be active.
Several Inputs can be active at the same time. If an Input in the list is black,
then it is physically connected and active. If it is grey this means that Cubeat
has found the software (the driver) for using the device which has the input,
but it is for some reason not active (power turned off, not connected proper¬
ly, or not connected at all). If an Input is black and ticked, it is selected as
one of the recording Inputs. More information on drivers can be found on
page 2-2.

Cubeai

16-5

The Options Menu

Multi Recording Theory

Normally you record on one Track at a time, Bui, if you have a MIDI unit
(like a MIDI kcy'board with splilpoints) lhai is able lo transmit on several
channels at the same lime, or if you arc a band, or for some other reason
wish lo record several MIDI instruments at the same lime, you can use Multi
Recording. This allows you to record on up lo four Tracks at the same time.
Multi Recording can also be used just as a quick way of switching between
four predefined Tracks while recording. This has some specific advantages
over normal recording.

Setting Up the Parameters for Multi Recording

The first thing to do is lo decide which kind of Multi Recording you want.
This is done in the Record dialog box.

Select Record from the Options menu. Click on the text under the heading
so that it is set lo Enabled. It is now lime to select one of the three types of
Multi Recording by clicking on one of them in the dialog box.

Merge

This allows you lo quickly switch between four preselected Tracks. Merge
is intended for one player, sending on one MIDI Channel, as a utility lo
quickly move between four sounds on four Tracks, for instance when
making up a groove.

Channel Split

This splits the incoming MIDI messages according lo the Channel they are
coming in on. This is for those who have a MIDI instrument capable of
sending on several MIDI Channels, like a keyboard with keyboard split, or a
guitar synthesizer. Or alternatively, it can be used if several players are
connected to a MIDI merge box and the output of the merge box is connec¬
ted to the Atari. If each player is set lo send on a different MIDI Channel
these can be directed lo one Track each.

16-6

Cubcal

The Options Menu

Input Split

This mode is useful when you have several MIDI units, each connected to
one MIDI Input. It is mainly intended for recording several players, but it
can also be used with one player that has for example several keyboards.

Layer

This function differs from the others a bit. Its main purpose is to Thru-put
the incoming MIDI data to up to four different Outputs and MIDI Channels.

When you have clicked on one of these options, click Exit or press IRctum].

The Four "Players”

No, this is not a singing quartet from the early sixties, it is the way you
manage your Multi Recording in Cubcat. When you have enabled Multi
Recording in the Record dialog box you will see a new line appearing above
the Track List and Part Display, with four identical fields of parameters, for
the four "Players" (PLl to PL4). You will also get a new column in the
Track list with the name ">1".

You can direct each one of the "Players" (PLl to PL4) to a Track, by
dragging either the text PLl, PL2, PL3 or PL4 to any Track in the >1 column
as the picture below shows. "Player" 1 is automatically moved to the active
Track when Multi Recording is activated.

MULTI RECORD CHM SPLIT

In the upper right comer of the screen you can see the type of Split you have chosen.

SNRP bar

MOUSE 1

PLl

MIX

Chn 1 .^

-Pis

MIX

AOiChn 2 . .

7| I TRRCK

Bass
P i ano

INSTRUMENT

mpcGO
E3 bdss
E3 piano

A new line appears. This picture shows PL! and PL2 and how to drag a "Player" to a Track.

Cubcat

16-7

The Options Menu

If you want to move a "Player", you can cither drag it directly in the >1
column from one Track to another, or drag it from the Multi Track parame¬
ter line again, just as the first time.

The players arc intermediate "pointers" or "sub tracks" if you will. Say that
you have decided that you want a Channel Split in the Record dialog box.
Now, incoming MIDI messages on different MIDI Channels arc directed to
different "Players". For instance, messages coming in on MIDI Channel 1
arc directed to "Player" 1 and messages coming in on MIDI Channel 10 arc
directed to "Player" 2. By assigning "Players" 1 and 2 to different Tracks
(by dragging as explained above) you are now able to direct input on MIDI
Channel 1 to one Track, and input on MIDI Channel 10 to another Track.
This allows you to record on several Tracks at the same time, and separate
the recordings with the help of the players.

The "Players" have bit of a different identity depending on which type of
Multi Recording you arc using:

Merge

You select one "Player" at a time, by clicking on it on the Multi Recording
Line above the Track List and Part Display, or you can step through the
"Players" using [#] on the computer keyboard.

Recording happens on the Track that the "Player" is directed to at the
moment. It is sort of like recording on one Track at a time, but Track
selection is faster. Another advantage is that you can select Cycle Recording
Mode and Auto Quantize individually for each "Player".

Channel Split

Recording is done on up to four Tracks simultaneously. Each "Player"
receives on specific MIDI Channels.

Player 1: MIDI Channel 1,5,9 and 13.

Player 2: MIDI Channel 2, 6,10 and 14.

Player 3: MIDI Channel 3, 7,11 and 15.

Player 4: MIDI Channel 4,8,12 and 16.

16-8

Cubcat

The Options Menu

Input Split

Recording is done on up to three Tracks simultaneously in the same way as
with Channel Split, but each "Player" receives on one specific MIDI Input.

Player 1: Atari Input.

Player 2: SMP-24 Input 1.

Player 3: SMP-24 Input 2.

Layer

Incoming MIDI data is not separated to different Tracks. Instead it is record
identically on all four Tracks. But, data is also thru-put via the Players to the
Output and MIDI Channel of each Track (Instruments) you have selected.
For one thing, this allows you to record something and hear it with sound
sources connected to different Outputs while recording.

Recording

... is done as usual, the only difference is that up to four Tracks are activated
simultaneously and that you don't select a recording Track from the Track
list. Recording can be done with or without Cycle activated. All the rules for
what is possible to do during regular recording apply, but the functions
always act on the selected "Player" only.

You can not move the "Players” from one Track to another while
recording, But, you can deactivate recording (but not necessarily
playback), then move the "Player", and lastly activate recording again.

Cycled Recording Mode

You can select Mix, Punch or Normal Cycled recording Mode for each
player, by pulling down one of the pop-up menus in the field for each
"Player". For more information about these modes, see page 104.

PLS

HTX

ililLchn 2 . . 1

MIB

PUNCH

NnRMflL

Cubeai

16-9

The Options Menu

Cycled Recording Functions

These Functions arc used both in normal Cycled Recording and in Multi
Cycled Recording, but for some of them there arc a few special things to
note in Multi Recording Mode.

You find four pop-up menus with tlicsc functions on if you click on the
symbol for each Player (PLl to PL4) above the Part Display and Track list.
By selecting one of the menus you decide which Player is affected by the
Function.

Key Krase

To erase all notes played with a certain key, or keys, (F#3, AO or whatever),
in the recording for one "Player", first press the keys to be erased. Then
either select this item from the menu or select the player with [#1 on the
computer keyboard and hold down [K].

Delete SubTrack

This deletes the whole recording made for one of the "Players". Either select
this function from one of the p)op-up menus or select the player with [#] on
the computer keyboard and press [B].

Delete Last Version

If you just made a mistake on the last lap for one "Player", Either select this
function from one of the pop-up menus or select that Player with [#] and
press press [V] on the computer keyboard. It doesn’t matter if you didn't play
anything for several laps, the last lap that you recorded anything on is
erased.

Quantize Last Version

This Over-Quantizes everything you played on the last lap, to the set
Quantize value. Either select this function from one of the pop-up menus or
select the player with [#] and press [N] on the computer keyboard. And just
as with Delete Last Version, it doesn't matter if Cubeat has played back the
Cycle several times since you last played anything, the last lap you recorded
anything on is Quantized.

16-10

Cubcal

The Options Menii

Automatic Quantize

You can select for each "Player" if you want it to be automatically Quanti¬
zed. Click on the text AQ in the field for each "Player". For more informa¬
tion about Automatic Quantize, see page 124.

Part Appearance

This function allows you select what kind of information you want to be
displayed in the Part boxes. When you select this item from the Options
menu, you are able to choose between having the Part's name displayed or to
have an overview of the density of the events in them. Events are shown as
vertical lines within the Part rectangle. Select either option by clicking on it

imu

A Part with the Events in it shown as vertical bars.

If you select Show Events you can also decide what type(s) of events to
display by clicking on them in the list on the lower half of the dialog box.
Hidden events are inverted (white text on black). Special refers to the
special events described in the Grid Edit chapter.

This function has nothing to do with what is played back or any other
function affecting your music. It is only there for making the graphics
on the screen as useful as possible.

If you feel that you have problems, this option gives you a quick diagnosis.
By selecting Pitch Bend, After Touch and so forth, you will be able to see
what has been recorded and not and if there is a (too) large amount of e.g.
Controller data recorded at some point in the music.

Parts muted with the Mute cross are always shown with names in them. One
way to use this fact is to create a separate Track with "cross-muted" empty
Parts that give a hint about the Songs structure through their names (Verse
7, Chorus I etc). The rest of the Parts can then be shown with events in
them, for a "cleaner" Part Display.

Cubeal

16-11

The Options Menu

MIDI DeHnition

This box is used for setting up Cubeal's MIDI Fillers, the Thru function and
the rcablimc Continuous Controller Transformation. Most of these parame¬
ters arc things that you probably will set up once and save with your Setup,
so that they suit your MIDI system.

CONTROLLER j CHANNEL

THRU

RECORO

Rl iNoteOff

CONTROLLER

OmniModOf f ^ 5 6 7 8

CONTROLLER

PROGRhM CHmMGE

RFTER TOUCH

RFTER TO'JCH

PITCH BEND

Local Ctrl

RUNNING

STRTUS

CONTROLLER MRP

OUTPUTS >

RESET MRP

4 THRU OFF
i CHRNNEL

NO, J

1 1

12i

16|

Record Filter

This is a way of preventing certain types of MIDI data to be recorded. For
instance, you may want to turn off recording of System Exclusive data,
since this takes up a lot of memory space and should only be recorded when
necessary. Also, if you have a keyboard capable of sending After Touch
(Pressure), but no sound module that accepts this type of MIDI information,
it is useless to record it.

16- 12

Cubeal

The Options Menu

Click ihc mouse on ihc types you want/don’i want recorded. Normal text
(black on while) means that the data will get recorded, and inverted (while
on black) that it won't.

Thru Filter

MIDI data coming in to the program may or may not be "echoed" via one of
the MIDI Outs. This is decided with the Thru function. But, if you have the
Thru function active you may still want to make sure that some certain
type(s} of MIDI data are not echoed immediately via any MIDI Out.

The Thru Filler allows you to selectively prevent certain types of MIDI data
to be echoed. Use the mouse to set the Thru Filler, just as with the Record
Filter.

Control Filter

You may also totally filler out four certain Continuous Controllers of your
choice, regardless of what MIDI Channels they are coming in on. The third
square in the Filler section of the MIDI Definition dialog box is used for
this.

This is an input filter only. It only acts on the MIDI Input(s), not the
Output(s).

This means that it can be used to prevent some Controllers from bcjng
recorded, but if it already has been recorded at some earlier point, this Filler
is not the way to slop the Controller from being played back. For playback
fillers, see page 9-21.

Four different Continuous Controllers can be filtered out Use the left and
right mouse button to step through the possibilities in the four fields (the
possible values are identical in each field). The values start with No Cnirl,
which is the same as no filtering, and then step up from Controller 0 to
PolyModeOn (Controller 127).

Cubeal

16- 13

The Options Menu

Channel Filter

Your last option is to filter out all MIDI messages coming in on one or more
specific MIDI Channels.

Just as the Controller Filters, this is an input filter only. It only acts on
the MIDI Input(s), not the ()utput(s).

Click the mouse on the Channels you want/don't want recorded. Positive
text (black on white) means that the data will get recorded, and inverted
(white on black) that it won't.

Controller Map

This is a function that allows you to remap Controller numbers, which
means to change one Controller number into another.

MIDI Defines a lot of things as Controllers, Modulation, Volume, Breath
Control and so on, via a numbering system. Here's an example: Modulation
is number 1, and Volume is number 7 for instance. Now say that you have a
MIDI rack module that reacts on MIDI volume. You want to record some
volume changes, but you don't have a specific device for it But, you do
have a keyboard with a Modulation wheel.

The Controller Map function allows you change the Modulation wheel
Controller number (1) to Volume (7), so that the Modulation wheel is
recorded and echoed as if it was MIDI Volume.

To set this function, use the left and right mouse button to display the
Controller to be mapped in the field "Controller". Once the right Controller
is shown, use the mouse to map it to some other Controller, by changing the
value in the field "Map to". If you want to restore all Controllers so that no
transformation takes place, just click once on the .i.Reset Map; button.

16-14

Cubcal

The Options Menu

Running Status

There is a special data compressioi. method that is part of the MIDI stan¬
dard, called Running Status. Older units may not be able to handle this, so it
can be turned off for any of the outputs. If you experience problems with a
Korg DDDI or DDD5, an Ensoniq Mirage, a Sequential Prophet T8 or a
very old Yamaha DX7 you should make sure that you are not transmitting
under Running Status from your computer. Each time you select an item
from this local menu you turn Running Status On/Off (lick/no tick) for that
Output.

The normal setting is all items ticked (Running Status On).

MIDI Thru

This is the major MIDI Thru function. By turning it on (ticked) or off (no
tick) you decide if Cubcat is to echo incoming MIDI data at all.

Let's say that you use a MIDI master keyboard for recording. This has no
built in sound capabilities at all. You connect it to MIDI In on the ST. Then
you connect a rack synth module to the MIDI Out. In order for you to hear
what you are playing while rehearsing or recording, you must tum Thru on,
so that all incoming MIDI data is immediately sent out again (echoed) via
the ST's MIDI Out. This is Thru On.

On the other hand, let's say that you are recording with a digital piano with
MIDI. You have connected the MIDI Out of the piano to the computer’s
MIDI in, so that data can be recorded, and you have connected the MIDI
Out of the computer to the piano's MIDI In, so that you can play back your
recording. With the piano, you will hear every note you are playing, direct¬
ly, regardless of your MIDI connections. So, you would want to tum the
Thru function Off. If you decided to leave it on, each note would be played
directly by the piano, but also sent out via MIDI to the computer, and there
be echoed back to the piano again. This produces double notes, which might
reduce polyphony or Just sound like some sort of flanger or phasing effect or
as louder notes.

The best solution to the whole Thru problem is the Local Off function,

which your recording keyboard may or may not have. This in effect
Cubeat 16-15

The Options Menu

turns your keyboard synth, sampler or similar into a separate keyboard
and MIDI sound module by disconnecting the local communication
between the keyboard and the sounding part of the instrument. With
the instrument in Local Off mode you should have Thru turned on in

Cubeat at all times.

KEYBOARD

SOUNDING PART ]

MIDI OUT

MIDI IN

lx)cal Off cuts off ihc internal communication between the keyboard and the sounding parts
in a synth or other instrument, without affecting MIDI communication.

Thru Off Channel

Let's explain this function by yet another scenario. You have a digital piano
without Local Off that you want to use for recording and playback, and a
few MIDI rack synths for playback. Now, when you record a piano part, you
want the Thru function to be turned off, so that you don't get any double
notes (sec MIDI Thru on the previous page). But when you arc recording
with any of the rack modules you want Thru to be turned on, so that you
hear what you’re playing with the right sound. It is a bit tedious to switch
Thru on every time you are to record a piano part, and this is where Thru
Off Channel comes in.

By turning Thru on, and setting the Thru Off Channel to the same MIDI
Channel as your piano is receiving on, you will make Cubcat echo data on
all MIDI Channels but the one the piano receives on.

In other words, incoming MIDI data on the set Thru Off Channel, will not
be echoed. Incoming data on all other MIDI Channels will (if Thru is set to
On of course).

16- 16

Cubcal

The Options Menu

Use the left and right mouse button to set the Thru Off Channel values to 1
to 16, or, if you don't want to use the function, to Off.

Now you can use your piano for recording all Parts. The only problem is
that you will either hear the piano directly even when you are recording
other parts (if you have the volume on the piano turned up) or you won't
hear the piano parts recorded when you record other parts (piano volume
turned down).

Cubcal

16-17

The Options Menu

Metronome

Read about Precount and Preroll on page 6*4.

This dialog box can be reached from the Options menu or by double chic¬
king on the Click button on the Transport bar. It is used for setting up
everything that has to do with the click that acts as your metronome. This
click can come from the computers speaker, from your MIDI equipment, or
both. The click follows the set time signature, with a special sound on each
downbeat. A time signature of 6/8 will produce six clicks per bar, each on
an eighth nolc.

You activate the metronome with the Click button on the Transport bar
or by pressing [C] on the computer keyboard. When recording without
a Preroll (see next page), you will hear the Click during the Precount
(countdown) regardless of if you have turned the Click on or not on the
Transport Bar. ]f you want a silent Precount, you will have to turn both
the Beep and the MIDI Click off in the Metronome dialog box.

Beep

This allows you to turn the beep from the computer's speaker on and off,
(use the mouse to click in the Beep field) and to set the sound.

High Frequency is the frequency on the downbeat of every bar, and Low
Freq is the frequency of all other beeps. Use the left and right mouse button
to set the values.

MIDI Click

The metronome can also be sent out as MIDI note commands to some
suitable sound, like a bass drum or a sidestick sample from a drum machine
or similar. Turn this function on (tick) or off (no tick) by clicking in the
MIDI Click field.

16- 18

Cubcal

The Options Menu

The High piiraiiicicrs (Note and Vcl) arc used to set the note number and
velocity values for the click on the downbeat of each bar, and the Low fields
can be used to set the same values for all other clicks.

You can also set a MIDI Channel and an Output for the MIDI Click, or
directly select an instrument, just as in the Part Info boxes.

Precount

By clicking in the Precount field you can turn the countdown used when
recording On (tick) or Off (no tick). When this is set to Off, recording will
begin as soon as you click on the Record button or press [*] on the computer
keyboard.

By setting the Bars value you can decide how long you want the recording
Precount to be.

By setting the Nominator and Denominator values you can decide in what
time signature and how often you will hear the clicks during the Precounl.
By setting the Denominator to Master, the Precount follows the current Lime
signature on the Master Track.

Preroll

When Prcroll is set to On, instead of having a normal Precount (where you
can record if you wish) Cubeat "rolls back" a number of bars when you
activate recording. The number of bars is set in the "Bars" field above and is
the same as with the Precount. No recording takes place during the Prcroll,
but after this Cubeat automatically punches in.

Prerecord

This is used to turn the "recording during Precount" function on and off.

Cubeat

16-19

The Options Menu

Synchronization

This dialog box is used for selling up everylhing lhal has lo do wilh Cubeal’s
sync lo olher unils. You reach il from ihc Oplions menu, or by double
clicking on ihc Sync bullon on ihe Transporl bar. Once you have ihc sellings
in ihc dialog box righl, you aclivale Sync as such by clicking once ihc Sync
bullon on ihc Transporl bar or by pressing IX] on ihe compulcr keyboard.
When Sync is aclivalcd, Cubeal will aulomalically slarl when il receives
proper sync.

Syncing in ilsclf is divided inlo Iwo parls:

• SMPTE Sync. Cubeal (or aclually M*ROS) uses lime code as an
absolulc reference for everylhing il docs. This lime code can come
from a number of sources, from an inlcmal gcncralor, via MIDI as
MTC (MIDI Time Code) or via a device such as ihc SMP-24,
TimcLock or MIDEX+.

• Tempo Sync. This governs Cubeai's lempo. The Sync can come from
an internal source, which means the tempo set on the Transport bar or
the Master Track, il can come via MIDI as MIDI Clock, or il can
come via a function called Human Sync.

These iwo types combined in a few ways:

SMPTE internal and tempo internal.

This is "normal" mode, not sync lo any external source. This mode also uses
Ihc inlcmal tempo sclling(s), either on the Transporl Bar (Master Off) or on
the Master Track (Master On).

SMPTE internal and tempo via Human Sync

This allows you lo lap the tempo without being synced lo any cxlcmal

source.

SMPTE external and tempo internal

This is normal sync loan external lime code source like the SMP-24, or via
MIDI Time Code. You can use the Master '^rack lo sel ihe tempo, or you
can sel ihc tempo directly on ihe Transporl bar if you have the Master Track
disabled.

16-20

Cubeal

The Options Menu

SMPTK external and tempo via Human Sync

This allows you to lap Ihc tempo while being synced to lime code in any

format. This is mainly used to tap to make up a Master Track so that you can

match Cubcal's tempi to existing music on tape while being synced to lime

code.

Tempo MIDI Clock

If you have the tempo coming in via MIDI as MIDI clocks it really doesn't
matter what kind of SMPTE sync you have, internal or external.

If you are using several M*ROS programs that should run in tempo-
sync, you have to have the Master Track activated.

When syncing to external time code it could be a good habit to always use
the Master Track. Either way, when Sync is activated, Cubeal automatically
chases to the correct Position.

When syncing to time code, and utilizing internal tempo, playback
starts automatically when the program receives time code (see below).
When syncing to MIDI Clock, Cubeat automatically starts when it
receives a Start or Continue message.

If no sync signal is coming in, you can activate Play as usual, even with
Sync enabled and an external Sync source selected.

You have two pop-up menus for each of the main types of sync SMPTE and
Tempo. Beside these sync menus you have menus for selecting where the
sync is coming from.

SMPTE

Internal

In this mode you use M-ROS' internal time code. You are not synced to any
external device. With the menu to the left you can select if you want to use
the time code generated in the Atari, or some time code coming in via
M-ROS (from another computer).

Cubeal

16-21

The Options Menu

MTC

MIDI Time code is regular lime code in a special format that allows it to be
sent in a MIDI-cable. This may come in to Cubeal from the Atari's MIDI
port, via M*ROS, or from a connected Device.

Devices

A number of connected Devices may send regular SMFFE lime code to
Cubeal. Examples of such Devices are the Steinberg SMP-24, TimeLock
and M1DEX+, and C-Lab Unitor. If you have the right software (driver) for
an output it will be found in the list.

Tempo

Internal

The tempi on the Master Track if this is activated or the tempo set on the
Transport bar if it is not.

Human Sync

This mode allows you to tap notes that are used to set the tempo. Human
Sync has its own dialog box, reached from the Options menu, and is explai¬
ned in full on page 16-25.

MIDI Clock

This is sync to incoming MIDI Clock, Start, Slop, Continue and Song
Position Pointer messages. This of course overrides any tempo settings
made in Cubeal. You can select via which input this is coming, by using the
pop-up menu to the right.

Send MTC and MIDI Clock

You can also make Cubeal output MIDI Time Code, MIDI Sync (MIDI
clock. Start Slop and so on...) or both at the same lime, via any combination
of outputs, even while it is synced to any other formal. You may for exam¬
ple make Cubeat send out MIDI Clock when it is synced to MTC. Use the
pop-up menus to set this to Off or to select an output for each of the two
types of sync.

16-22

Cubeal

The Options Menu

Song Start

This value is set using the left and right mouse button as usual. The values
correspond to a time code setting of: hours:minutes:seconds:framcs: subfra¬
mes (80 bits). Cubcat will use this "time" as a reference for Song Position 1.
1.0 in all calculations. This means that you can make an Arrangement start
at any time position (down to sub frame resolution). This is used for making
a Song start at the right place when Cubcat is synced to film or video, or to
adjust the relative starting points between for example, material recorded on
an audio tape recorder and Cubeat.

Display Offset

Cubcat normally displays the beginning of the Song (1.1.0 in bars/bcals/
ticks) as time code 0:0:0:0:0 regardless of how you have set the Song Start
value. But, by adjusting Display Offset you can make Cubeat display time
code with any offset. The values you set here will be used as a SMFTE time
for position 1.1.0, the beginning of the Song. This means that if you set this
parameter to the same value as Song Start, all SMPTE displays in Cubeat
will show the same values as the actual incoming time code. Note that this
parameter can also be set to negative values.

Frames

This is used to set the format of the time code. The Options are 24,25, 30
and 30DF (29.97) frames per second. This field might be changed automati¬
cally if a sync device senses some other incoming time code format.

Write SMPTE

This button starts the output of SMPTE time code via the selected time code
device (SMP-24, MIDEX+, Time Lock, Fostex MTC-1 or C-Lab Unitor).
Time code is written starting at the set SMPTE Offset Time and with the
frame rate selected in the lower left comer of the dialog box.

Cubeat

16-23

The Options Menu

Convert 24 Song

If you have songs created in Steinberg’s sequencer program ’'PRO-24", and
load these into Cubcat, they do not synchronize directly to tapes created
with ’’PRO-24'’ and Steinberg SMP-24 or TimcLock. In order to achieve
perfect sync you have to convert their tempi (the Master Track) to "Cubcat
format".

When you click on the "Convert 24 Song" button, another dialog box
appears. Here you can select two of the SMP-24’s modes, sre 0 (TimcLock)
or sre 2 (SBX-80). Select either one and click "Do It". All tempi on the
Master Track arc automatically changed, so that the Song syncs perfectly to
the "old" tapes.

Get SMP-24 Song

Using Cubcat you generally do not need the SMP-24 song as Cubcat
handles its song internally. The Get SMP-24 song-function has been added
for those users who want to use the SMP's post-production features. If eg
you have tapped in a song on the SMP or use a PRO-24 song that was
synchronized via click-track or MIDI clock/MIDI notes and want to use that
song structure then you can use this function to load it. The song data will
replace data on the current Mastcrtrack.

For information about the SMP's post-production features please refer to its
manual.

Exit

When you arc finished with the settings, click on this button or press
[Rctuml.

16-24

Cubcat

The Options Menu

Human Sync

Sequencers arc normally locked to a predefined tempo, either set in the
program or coming in via some type of sync. But, Cubcat automatically
synchronizes to the musician, even to chords and mixed music. You can use
this feature to:

• Play along with your sequencer live, controlling the tempo with your
playing.

• Manually synchronize to old tapes, perhaps for reproduction.

• Automatically sync to existing music by converting an audio click to
MIDI notes in some way, and use this to input information to the
Human Sync function.

• Play slow when recording difficult passages and fast during the easy
ones, and more...

Human Sync is a genuinely musical feature, and as all such requires
some practice. Don't start right off with sixteenth notes for input. But
on the other hand, do not stop at setting up Human Sync for quarter
note "tapping" for all times. Different tasks need different settings in
the dialog box, and the more notes you allow Human Sync to recognize,
the better it works (but the more it demands of your playing).

When you try Human Sync for the first time, try to play along to a rhythmi¬
cally simple Song. If you start tapping the keyboard in Stop mode, the first
four taps are taken as a count-in, and Cubeat will start after that. Make sure
the Master Track is turned off.

Cubeat

The Options Menu

The Dialog box

When you select Human Sync, from the Options menu, a dialog box
appears.

This setting can be changed while the music is playing.

The upper half displays a graphic representation of one quarter note. This is
used to tell Cubeat something about what to expect of the incoming notes.
The grey areas arc the parts within the quarter note where incoming MIDI
messages should be recognized, and the white parts are the areas where they
should be ignored.

You can click and drag with the left mouse button to set a new grey area or
to expand or shrink an existing one. The sides of each area has a thicker
black line. You can also click with the right mouse button to completely
erase an area.

First of all you must tell Cubeat something about the frequency of the
incoming MIDI notes, if it will be quarter notes only, eighth notes triplets or
whatever. This is done by making up grey areas around the valid notes.

The leftmost section in the graphic is actually only for notes exactly on and
after the quarter, and the area to the right of the last sixteenth is for what
happens before the same quarter note. Since the whole window only dis*

16-26

The Options Menu

plays one quarter note, it sort of wraps around at the end. If input appears at
the beginning of the quarter, this leads to a slow-down and vice versa. A
note symbol in each area helps you to see what note value it belongs to.

The sizes of the grey areas around the notes are used to filter out invalid
notes (when syncing to composite material). The larger the areas, the more
drastic changes are allowed, but this also makes the program sensitive to
erratic "laps". The smaller the area, the more correct Cubcat will handle
notes outside the intended range, but then it is also more confused about
large tempo changes. Experiment!

The lower half shows a few parameters that can be set using the mouse
buttons as usual.

Max Increase and Max Decrease

This is the maximum tempo increase/decrease allowed, shown in BPM
(beats per minute). If you don't have drastic tempo changes, try to set these
both as low as possible. If you, after trying the settings out, don't feel that
Cubcat "reacts" enough, increase the range.

Max and Min Tempo

These arc the Maximum and Minimum tempi allowed, also shown in BPM.
Remember that you may have to allow pretty high/low tempo settings
momentarily, to "catch up", while tapping to existing music.

Offset

This is a setting (in BPM) which causes the tempo to actually be slower
(negative values) or faster (positive values) than the tempo you tap. 1 has
proven to be a normal value.

Smooth

If you set Smooth to on, Cubeat uses an average of the last tempo and the
new tempo for each calculation.

Cubeat

16-27

The Options Menu

Syncing to existing music on tape

Let's say that you have a piece of music on tape that you wish to sync to by
playing quarter notes on a keyboard The tape has time code on it as well as
the music. Since you are tapping directly for the purpose you needn't worry
much about taps outside the range. There is a two bar count in on the tape.

Delete any range in the middle of the Human Sync graphic that has
an eight or sixteenth note symbol in it.

Drag up two quarter note areas as the picture below shows.

• Set the tempo parameters to some appropriate values (you may have
to change these after a couple of tries).

• Set Offset to 1 and Smooth to No.

• Exit the Dialog box.

• Open the Synchronization dialog box on the Options menu and set
SMPTE sync to your SMPTE device (SMP-24, TimeLock...) and
Tempo sync to Human Clock. Exit this menu also.

• Activate Sync on the Transport Bar.

» See to that the Master Track is empty and that Master is turned Off
on the Transport bar.

• Activate Tempo recording on the Options menu.

• Just for safety, select an empty Track (so that nothing is deleted by
accident).

• Go into record mode and start the tape. Check that Cubcat is
receiving time code.

• Set up the SMPTE Offset and the initial tempo on the Master Track
so that Cubeat starts at the right point and in the right Tempo.

• When the music starts, tap quarter notes on the keyboard.

• Tap the whole Song. All the tapped tempi are now recorded on the
Ma'^ter Track.

16-28

Cubeal

The Options Menu

Open llic Synchronization dialog box on the Options menu and set
tempo sync to Internal.

Switch Master to On on the Transport bar.

Rewind the tape and play back the music and Cubeal syncs to the
music on tape.

Remote Control

This dialog box lets you set up and "enable" the Remote Control function.
Remote Control is used to activate functions in the program like Start and
Stop via MIDI, from a synth keyboard or similar.

You decide which key on your keyboard you want a certain function to
correspond to. Let’s say that you set Play to be activated by D5. You also
have to decide on a special "Remote Key", for example C5. To activate play
from the MIDI keyboard, first hold down the "Remote key" (C5 in our
example) and then press the Play key (D5) once. To select another function,
just press the relevant key. You don't have to release the "Remote Key" in
between.

When Remote is enabled, the "Remote Key" can't be used to record
music.

First of all, to Enable/Disable Remote Control, click in the field at the top of
the dialog box or press [Y] on the computer keyboard (this works even if the
dialog box isn't visible).

Use the left and right mouse button to de/increase the value in each field in
the dialog box. For a description of each function, look them up in the Index
of this manual.

Make sure that one key is not used for more than one function. If two
keys are used for the same function, then only the first function (in the
list) will be activated by the key.

Cubeat

16-29

The Options Menu

Reset Devices

This command performs a Reset on Slop, plus that it resets all M*ROS
Devices like the SMP-24 and Time Lock. Should you encounter any pro¬
blems with communication via the Devices, try this command.

16-30

Cubeal

Edit Windows in General

■ V'v|:|:::::v:5§

M i

liiii.

vi'-i

Edit Windows in
General

Cubeal

Edit Windows in General

Cubeal has three windows devoted to editing and input of notes and other
MIDI data. You open them from the Edit menu or directly from the compu¬
ter keyboard. They are:

Grid Edit

This is divided into two parts: A list of all events and a graphic display
beside this that shows each event as a horizontal bar. Events can be manipu¬
lated numerically in the list, or graphically in the grid. Grid Edit is reached
from the computer keyboard by pressing [Control]-[G].

Drum Edit

This page is perfect for making up drum and percussion parts. It allows you
to handle your drum sounds by name rather than by MIDI note number. It
has a very special feature that allows you to redirect drum parts to new note
numbers, MIDI Channels and Outputs after recording. Music is displayed
graphically in a grid with each drum hit shown as a rhomb. Non-note
infonnation can also be entered and edited in a special display below the
grid. Drum Edit is reached from the computer keyboard by pressing
[Control]-[D].

Key Edit

This one is more like a piano roll display. It has a vertical piano keyboard at
the left end of the window so that notes easily can be identified by their
vertical position. This one also has the possibility to handle non-note
infonnation below the grid. Key Edit is reached from the computer key¬
board by pressing [Control]-(E].

There is a fourth editor called Logical Edit. But this differs from the others
in that it works with changes based on mathematical and logical criteria.
Logical Edit is described in its own chapter.

Selecting one or several Editors

Before you go into an Editor you must decide which Part(s) you want to
EdiL This is of couijpe done by selecting the Part(s), or just a Track (no Part
selected) if you want to Edit all Parts on a Track. After that you can open an
Editor from the Edit menu or by pressing its keyboard equivalent. The
Events in the edited Part(s) will be displayed in the new window.

17-2

Cubcai

Edit Windows in General

If there are no Parts on the section of the Track you want to edit, and
you for example want to record or input some music directly into the
Edit window, you must first create a Part by double cljpcking in an
empty area between the Locators in the Arrange window or by using
the Create Part command on the Structure menu.

Key Edit can be used to Edit several Parts on different Tracks, simultane¬
ously. There are no restrictions. Just select the Parts you want to edit If no
Parts are selected, all Parts on the Active Track will be edited.

Grid Edit allows you to Edit one Part or one whole Tracl^ at the same time
(if only a Track and no Part is selected).

Drum Edit can be used to edit several Parts, even on different Tracks, at the
same time, just as Key Edit. Select the Parts you want to edit. With no Parts
selected, all Parts on the Active Track are edited.

Nonnally you will want to use one Editor at a time. So if you for example
have Key Edit up on the screen and open Grid Edit, Key Edit will disappear
and be replaced by Grid Edit.

But, if you hold down [Alternate] on the computer keyboard when
opening a second (or third) Editor, the other(s) are not closed, they
remain behind the topmost and can be selected and resized as usual.

You can even switch back to the Arrange window and select other
Part(s) and open editors of the same type (or a different type) for them.
Your only restriction is that only seven windows can be open simultane¬
ously.

Check out the Tile Editors command on the Window menu, it is very useful
when you work with several editors simultaneously. Esp^ially in combina¬
tion with the Full button on the windows' title bars.

Window Handling

Edit windows can be opened, selected, closed, moved, resized, scrolled and
so on while you are recording and during playback. You can also do the
actual editing at any lime, even during recording.

Cubeal

17-3

Edit Windows in General

The windows and their scroll bars work as usual, and you may magnify all
editors as with the Arrange Window. You may also choose to make the Edit
windows scroll automatically when the music is running by turning the
"Follow Song" function on or off on the Options menu.

Keep and Cancel

Everything you dp in an Edit window can be kept or cancelled (undone).
There are two buttons on the left side of the Edit windows’ menu bars called
just that. Keep and Cancel.

KEEP McancelI

If you click Keep, everything will be kept as it is at this point, and the Editor
closes.

If you have several editors open at the same time for editing the same
Part(s) you have to '’Keep'* in all of them to make the changes perma¬
nent.

If you click Cancel, the Part(s) are restored to the state they were in before
you opened the Edit window.

If you enter the Edit window while recording, and then click Cancel, the
whole recording is deleted.

Editing done on a Ghost Part or a Real Part with Ghosts won't show up in
the other Ghosts/the real Part until you Keep your changes. For instance, if
you have a Real Part with a Ghost, and you edit the Ghost in an Edit win¬
dow, the Real Part will not change while you are editing, but as soon as you
Keep your changes, the Real Part changes so that the Ghost and the Real
Part are identical again.

17-4

Cubcal

Edit Windows in General

The Title Bars

The window title for each editor shows some text that gi>les you a hint about
what is edited (the name of the Part) and the start and end points for the
edited section.

KEV - Track 2

Recording, Playback and the Transport Bar

All recording, playback and other Transport Bar functions may be used as
usual. You may very well record your music directly in an Edit window, just
observe the distinctions mentioned under Keep and Cancel above. If you
record past the end of the Part it is extended to the length of the recording.

Communication between Edit Windows

The Edit windows communicate, so that any changes made in one Edit
window are immediately reflected in the others. This makes it easy to switch
between them and use them for different things. You will probably establish
a working method where you use each editor for specific tasks.

So, the editing in itself is updated directly in all Edit windows, and so is
selection (what events are selected). The .Loop settings are also communica¬
ted between the editors. Other settings remain independent for each one.

Similarities and Differences i

Even though the Edit windows all look pretty different, they have similar
behaviors. On the top line of each you will find a number of functions, pop¬
up menus, value boxes and display boxes that work similarly or identically
in all Edit windows.

Cubeal

17-5

Edit Windows in General

Here is a brief rundown of the dif ferences and similarities between the editors.

Don’t expect to understand everything if you haven't tried the Editors yeL Use

this list for reference when you master one editw and want to try the next.

□ Selecting, moving and duplicating events is very much alike in all
Editors.

□ Mouse, Quantize and Snap also work af ter the same principles for all,
except for Drum Edit where each sound has its own Quantize (Qnt)
and Length value.

□ The pop-up boto, "select” and Function menus work identically
except for the default values for some functions and the fact that Grid
also has a Mask menu.

□ The Info Line is identical in Key, and Drum Edit. Grid doesn't have
one.

□ The behavior of the Loop is identical.

□ Step edit and input via MIDI also work along the same lines where
ver you are. Observe that MIDI input is also used to set up the map in
Drum Edit.

□ The Toolbox is very much alike in Key and Drum Edit. It is a bit
different in Grid although it uses the same principles.

□ Non-note editing is similar in Key and Drum Edit, and different in
Grid Edit.

Remember that Key and Drum Edit can be used to edit any combina¬
tion of Parts from different Tracks should you so wish, and that Grid

Edit can only be u^d for one single part on a Track or all Parts on one

Track. ,

Ed Solo

This function is reached from a button on the Transport bar. If it is activated,
then only the edited Part(s) will be played back from the Edit windows. If
Ed Solo is turned off, all unmuted Parts will be played back, even from the
Edit windows.

ED SOLO

17-6

Cubcat

Edit Windtws in General

Cutting, Copying and Pasting Events

You can also use the standard ST commands. Cut, Copy and Paste to
rearrange notes and other events. These also have the keyboard equivalents
[Control]-(X], [Control]-[C], and (Control]-[V] respectively.

Cutting, Copying and Pasting is the way to move events from one Part
to another. There is only one Clipboard for events, and it is shared
between all the Edit windows, so that notes and other events can be
moved from one Part to the next. ^

Cut

This command takes the selected events and removes them from the Edit
window they were in, and puts them in a temporary, non-visible location
called the Clipboard.

Only one "cutting" (or "copying" see below) at a time can be stored on
the Clipboard.

This means that if you first select two notes and use Cut, and then select
another note and Cut that also, the two notes that were on the Clipboard first
are lost forever, and the last Cut note is now on the Clipboard instead.

Copy

This command takes copies of the selected events and puts them on the
Clipboard.

And again, only one "copying" (or "cutting") at a time can be stored on
the Clipboard. There is only one Clipboard, shared by Cut and Copy.

Paste

This command puts the events on the Clipboard back into the selected edit
window, which might be the same window as they were Cul/Copied from,
or another. These are the rules:

□ The events are always put in as a block or group, beginning at the
Song Position. The notes' pitches (and all other values for that
matter) are kept intact.

Cubeal

17-7

Edit Windows in General

□ You can Cut and Copy from several Pans at the same lime (active/
inactive Parts) but you always Paste into the active Part (see each
editor for an explanation of this term).

□ You can Paste the same contents from the Clipboard as many limes
as you like. Data is copied from the Clipboard, not moved from it.

Undo

The Undo command ([Undo] on the computer keyboard) allows you to
directly undo a number of things in the Edit windows. Here’s a list of what
can be undone without leaving an editor:

Move

Duplicate

Cut

Copy

Paste

Delete

Keep

Everything on the pop-up Functions menu
Everything on the main Functions menu
The last Tool action

Don't forget that everything done since you entered the F^dit window
can be undone by Cancelling all changes (click Cancel on the title bar).

Cubcat

Key Edit

Kev Edit

Cubeat

Kev Edit

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18-2

Cubcal

Key Edit

This window displays the music in a piano roll fashion. You have a piano
keyboard at the left end of the window where the vertical mouse position is
shown. All notes are displayed as boxes relative to this keyboard. The length
of a box represents the length of the note. You have a Position Bar above the
actual grid, very similar to the one in the Arrange display. The Song Posi¬
tion is shown graphically, just as in the Arrange window.

You can use the scroll bars to scroll (left mouse button) vertically and
horizontally if the view isn't the one you want, and you can also change the
magnification (right mouse button) to your liking. You may also want to
turn the Follow Song command on the Options menu on pr off, since you
may or may not want the display to follow the music automatically.

When you enter this window it always displays the current Song Position,
and if Follow Song is active you can use the normal ways of moving the
Song Position (Rewind, Fast Forward and so on) to move to any point you
desire and the window follows. Furthermore, if you click once with the left
mouse button on the Position Bar, the Song Position is moved there, and if
you press [CIr Home] on the computer keyboard, the Song Position is
instantly moved to the left side of the window.

And again, editing can be done during playback, or even while recording.

The Key Edit Window's Parts

On the top of this window you find the Functions Bar that is similar in all
Editors. Below this you may find the Info Line, if Info-On is active (see
page 18-7).

The central part is of course the grid with the notes, and below this you
again may see the Controller Display which shows all use of Velocity,
Controllers, Pitch Bend and so on, graphically. To the left you have a
keyboard showing incoming notes graphically. It also produces notes
corresponding to the keys if you click on it And as always, the Transport
Bar can be seen below the entire window.

Cubcal

18-3

Key Edit

Mouse, Quantize and Snap

You set the Quantize value for Key Edit by pulling down a pop-up menu in
the Quant box, just as in the Arrange window. The grid lines change to show
the Quantize value graphically, directly in the grid.

There is a mouse box on the Function Bar showing the pointer’s position,
similar to the one in the Arrange window. It normally displays positions in
bars/beats/ticks, but*if you click on it, it changes to show these in SMPTE
times (hours/minutes/seconds/frames...) instead. When you use the SMPTE
option, the Position values on the Info line and for the Loop start and end
are also displayed in this fonnat. Click again to return to normal position
indication.

There is also a Snap function. You can set it to a number of values:

Off No Snap

2pp Snap is done to the closest two ticks.

3pp Snap is done to the closest three ticks.

7pp Snap is done to the closest seven ticks.

64T Snap is done to the closest sixty-fourth note triplet.

64 Snap is done to the closest sixty-fourth note.

64. Snap is done to the closest dotted sixty-fourth note.

32T Snap is done to the closest thirty-second note triplet

# ^

1. Snap is done to the closest dotted whole note.

The Snap value is used to restrict certain editing to even note values and to
adjust the spacing of input notes. It also "quantizes", or restricts what values

can be shown in the mouse position box. The Quantize value is used for
regular Quantizing operations, but also for detennining lengths when you
input notes. These two values (Snap and Quantize) can be changed at any
time during any type of editing.

The Mouse Snap and Quant box are all on the Function bar

18-4

Cubcal

Key Edit

The notes on the Grid

Several Parts can be edited at the same time, but only one at a time is active.
Notes belonging to an active Part are white (or black when they are selec¬
ted, see below) and notes belonging to an inactive Part are dimmed (have
dotted outlines).

MIDI input, as when you play your keyboard, is always directed to the
aciive Pari. Tiiis is iiiipoi'iaiii wiieii you recuru, use Step Input ui make
any other changes via MIDI. This means that you can direct your input
to one Part or the other by making it active.

• To activate a Part, click on any note that belongs to that Part. You
can also use the Next/Previous Part commands on the Goto menu,
which is convenient if the Part is empty.

Selecting Notes

There arc several ways to select notes, similar to the way you select Parts in

the Arrange window:

• To select one note, click on it. Selected notes arc inverted.

• To select more notes, hold down the [Shift] key and click on the
notes you want to select. You deselect notes individually by clicking
on them again (but don’t let go of the [Shift] key until you're
finished).

Cubcal

18-5

Kev Edit

• To select several adjacent notes at the same time you can enclose
them in a rectangle by holding down the mouse button in some free
(white) area in the note Display. Drag the mouse to create a rectangle
big enough to "touch" all the notes you want to select. You don't
have to perfectly enclose all the notes, it's OK if the rectangle just
covers some section of each one. Release the mouse button, and the
notes arc selected.

• To deselect all notes, click on some free space in the note Display.

• You can select all notes (in fact all events, not just notes) by using
the Select All command on the Edit menu or by pressing IControlj-
[A) on the computer keyboard.

• You can also use the [<—] and [-^] keys on the computer keyboard to
step through the notes in the active Part (first select a note). If you
combine this with holding down the [Shift] key you can select
several notes from the keyboard.

You can select notes from active and inactive Parts at the same time,
and also perform any type of editing on them (like moving, copying and
so on) at the same time.

Moving Around and the Goto Menu

You may of course use the scroll bars to change your view in the window.
But you can also move directly by using the pop-up Goto menu on the
Function Bar. These commands scroll the window, both horizontally and
vertically to some Position, as explained below.

The Goto commands don't affect selection in any way. They only move
the contents of the window as if the scroll bars where used.

Song Pos

Takes you to the Song Position.

First Event

Takes you to the first event in the active Part.

Last Event

Takes you to the Last event in the active Part.

1 g c Cubeal

Kev Edit

First Selected

Takes you to the first (earliest) of all the selected events.

Next Selected

Takes you to the second of all the selected events.

Last Selected

Takes you to the last of the selected events.

Prev Selected

Takes you to the last but one of all the selected events.

Next Part

Takes you to llie beginning of the next Part. This might just lead to a vertical
scroll if there are several Parts beginning at the same Position.

Prev Part

Takes you to the beginning of the previous Part. This might also Just lead to
a vertical scroll if there are several Parts beginning at the same Position.

The Info Line

It is possible to numerically change the values for one selected note. This is
done on the Info Line. You can hide/show the Info Line by clicking on the
Info On button on the Functions Bar or by pressing [Altemate]-[IJ on the
computer keyboard.

I START 1. 1 , n4 LENG TH 369 pitch B4 velo-oh 92 v/eLO-err B chh i ~

If no note, or several notes are selected, then the Info Line shows "-"

for all values.

You can use the left and right mouse button to change the values for the
selected note. The parameters are Position (click on any of the three nume¬
rals as usual). Length, Pitch, Note On Velocity (Velo-On), Note Off Veloci¬
ty (Velo OfO and MIDI Channel (Chn). Any Changes you do are shown
graphically.

Cubeal

18-7

Key Edit

The two velocity parameters might need an explanation. Note On Velocity
is the speed, or force, with which you press the key, and Note Off Velocity
is the speed with which you release it. Not all keyboards arc capable of
sending out one or the other, but most can send at least the Note On type.
And, not all instruments react to both types either. Cheek die relevant
instrument's Operation Manual.

The MIDI Channel value is the original Channel number stored with die
note. For dii.s value to have any effect you must set the Track (or Lhc Part) to
MIDI Channel "No". See page 9-4 for more info.

Moving Notes

Hy Dragging

You may graphically move the selected Notes. Just press and hold the left
mouse button with the arrow pointer over one of the selected notes and
move the mouse. If you reach any of the sides of the window, it automatical¬
ly scrolls. When you release the mouse button, the whole block of notes arc
moved to the new position. The Snap function acts so that the first note is
positioned on the closest value. This works as a sort of "move quantize."

The mouse box shows you where that first note will wind up when you
release the button, and the box beside it shows you how many semitones up
or down all the notes will be transposed.

1. 2. 48

T rans pose3

I.•.I.■. I

The Mouse and Transpose values help you when moving notes.

18-8

Cubcai

Kev Edit

-- M _

By ’’Kicking"

You can also "Kick" a note one Snap value ala lime, forward or backwards
in lime. Hold down ihe right mouse button lo bring up the Toolbox, Select
one of the Kickers. Move the pointer over the note you want to move. It is
the tip of the shoe you are Kicking with (mind you, this isn't soccer), Klick
once, and the note moves one Snap value in the selected direction.

Duplicating Notes

You duplicate notes by holding down the [Allemale] key while dragging.
Everything else is as when moving.

Creating New Notes

You can paint new notes into the active Part using one of the tools in the
Toolbox. Hold down the right mouse button lo bring up the Toolbox. Select
"w- the Pencil or the Paint Brush. Move the pointer lo the position where you
want to input a note.

If you use the pencil, a new note is input at the closest Snap Position. If you
just click the mouse button once, the note gets a length set with the Quantize
value. If you drag horizontally before you release the mouse button, you can
change the length of the note. The Snap value works as a length Quantize.
That is, the length will be an even multiple of the Snap value.

If you keep dragging after pressing the mouse button you change the note's length

If you use the Paint Brush, you can move the pointer and "paint" in new
notes by dragging. Normally, movement is restricted to horizontally only

Cubeai i o

Key Edit

when you arc dragging (all notes will have the same pitch), but if you hold
down [Alternate] on the computer keyboard you will be able to move freely.
The new notes arc created at a spacing corresponding to the Snap value, and
they all get the length of the Quantize value.

l^ainling nolcs with [Alternate] pressed.

You can also give the notes one of four velocity values by holding down
keys on die computer keyboard while drawing and painting in notes.

No key Level 1

[Shift] Level 2

[Control] Level 3

[Shift] + [Control] Level 4

The Note-Off velocity will always be 64 and the MIDI Channel will be that
of the Part or Track.

When you arc finished, press and let go of the right mouse button once, to
bring back the arrow pointer. Or, select another tool from the Toolbox.

If the In button is activated on the Functions liar when you use the Pen
or Brush, then all notes in the Part will be moved one Snap forward
when you input new notes, just as with Step editing. See page 18-18.

You can also create new notes using the pop-up Functions menu, see
page 18-15.

18-10

Cuhcai

Kcv Edit

Changing the Length of a Note

You can change the length of an existing note using the Pencil icon. Hold
down the right mouse button to bring up the Toolbox. Select the Pencil.

Position the pointer over the note you want to change, and drag to the left
(shorten) or to the right (lengthen). An outline of the note shows the size
while you are dragging. The Snap function helps you to restrict your
changes to some even note value.

It might be hard to determine if you have the pointer over the note or
not. To avoid painting in new notes, hold down [Alternate] on the
computer keyboard. This restricts the use of the pencil to length-
changes only. Also, remember that it is the tip of the pencil you are
pointing with, and that you don’t have to find the exact end of the note.
Positioning the pointer over any part of it is OK.

When you arc finished, press and let go of the right mouse button once, to
bring back the arrow pointer. Or, select another tool from the Toolbox.

Deleting Notes

There arc several ways to get rid of unwanted notes.

• Select them and press [Backspace] on the computer keyboard.

• Select them and press [Delete] on the computer keyboard.

• Select them and use Delete Events on the Edit menu.

• Hold down the right mouse button to bring up the Toolbox. Select
the Eraser. With the left mouse button, click on the notes you want to
eradicate. When you arc finished, press and let go of the right mouse
button once, to bring back the arrow pointer. Or, select another tool
from the Toolbox.

You can also conditionally delete notes using the Functions menu, see

page 18-15.

Cubcal

18-11

Kev Edit

fc-_

Monitoring notes

Of course, you can have playback running while you are editing. And, you
can also use the cue function in the Edit windows. But there are two more
ways to listen to your music in Key Edit.

The Magnifying Glass

Hold down the right Mouse button and select the Magnifying Gla.ss. When
you click on a note with the left mouse button, using tiiis tool, liie event is
played back. You can also hold the mouse button and drag the Magnifying
Glass around over the notes.

‘ •.ti-i.♦.. ‘

The Ear

When you click on the Ear symbol on the Functions bar, notes will be output
automatically when you click on them and when you create them using the
Pencil or Paintbrush.

Chord display

As you have probably seen by now, the keyboard display at the left side of
the Key Edit window shows what keys are pressed at the moment. But the
little box on the Functions Bar, beside the Mouse Position box, also shows
the chords, both the ones you are playing, and the ones played back from the
Edit window.

|c Sus 4

18-12

Cubcat

Key Edit

The Loop

In ihc Edit windows, you can use the Cycle just as you are used to. But you
can also set up a local Loop, which is a sort of mini-cycle for the Parts in the
Edit window only. This means that the Parts in the Edit window follow one
"cycle" (the Loop) and all other Parts follow another (the Cycle).

There are four ways to set the Loop:

• Use the left and right mouse button to directly set iiie values in me
loop boundary boxes on the Functions Bar. The upper box is the start
of the loop, and the lower is the end.

• Double click on the boxes and enter a value, just as with any
position.

• Use [Altemate]-[L] and [Alternate]-[R] to open the Loop boundary
boxes and enter the value.

• Drag directly on the Position Bar, from left to right.

Either way, the current loop is shown in black on the Position Bar when it is
on, and in grey when it is off.

An inactive Loop between 2.1.0 and 3.1.0.

You aciivaie/dcaciivaie the Loop by clicking on the Loop button or by
pressing [Alternate]-[Oj.

The Loop Hutton

When the Loop is active, the Part in the Edit window loops almost indepen¬
dently of the rest of tlie music. We say "almost", because the Loop is still
dependant on tlie Cycle so that the Loop is never longer than the Cycle, and
they always even up rhythmically to avoid any confusion. In other words,
every time the Cycle starts over again, so does the Loop.

The Loop is also used to direct editing to the events inside the Loop. See the
next page.

Cubcat

18-13

Kev Edit

Quantize and other Functions

You can use all the Functions of the Functions menu in Key Edit. Plus, there
is a pop-up Functions menu, with some special commands. Using the
Functions in an Edit window also gives you better control over what is
affected.

The "select" menu allows you to Quantize, change lengths. Cut, Copy and
use all tlic oilier functions you Iiave at your disposal, oa a icsuicLcu set of
notes and oilier events.

In the Edit windows, all Functions (both on the main menu bar and on
the pop-up Functions menu) look at the "select" menu for deciding
what events they should operate on.

S Goto

EH All

0 Function

fl11 Euents

Looped Euents

W^IIJLI^i

Euents

Selected Euents

Looped Selected Eu.
Cycled Selected Eu.

To "select" menu is found between the pop-up menus "Goto" and "Function".

To direct the Functions, choose one of the options in the pop-up menu
between the Goto and Functions menus:

All Events

All events, active or inactive, will be affected.

Looped Events

All events inside the Loop will be affected, whether the Loop is On or Off,
and regardless of if the events come from active or inactive Parts.

18- 14

Cubcat

Kev Edit

Cycled Events

All events inside the Cycle will be affected, whether the Cycle is On or Off,
and regardless of if the events come from active or inactive Parts.

Selected Events

All selected events, inactive or active, will be affected.

Looped Selected Ev.

Those events that are inside the Loop and selected will be affected.

Cycled Selected Ev.

Those cvenLs that arc inside the Cycle and selected will be affected.

Cubcat tries to help you by automatically changing the selection from this
menu when you select events, set the Loop and so on.

The main Functions menu is described in its own chapter, "Quantize and the
Functions Menu".

The Pop-Up Functions Menu

This menu has some special commands on it. Again, only some events may
be affected, depending on the "selection" menu (see prev. page).

(^Function

FiHed Note
Delete Note
Keep Note

Repe

Fill

Reuerse

Delete

Cubeal

Key Edit

Fixed Note

This gives all the notes affected the same note value as the last selected note.
All notes' positions, velocity and MIDI Channel values are left intact.

Make sure you only have one note selected when you use this function.

Delete Note

This Deletes all notes with the same pitch as the selected note, but leaves all
other notes. This means that if you select a C3 then all C3's will be deleted.

Make sure you only have one note selected.

Keep Note

This function is sort of the reverse of Delete Note. All notes that have the
same pitch as ilie selected one are kept. All others are deleted.

Make sure you only have one note selected.

Repeat

This function is used to repeat a section of the Part until the end of the Part.
You define the "repeat cycle" by setting the Loop or the Cycle. From there
on there are two options:

• If the select menu is set to "Looped Selected Events" or "Cycled
Selected Events", then the selected events inside the Loop/Cycle are
repeated as many times as it takes to fill the Part. The created events
are added to the existing.

• If the select menu is set to just "Looped Events" or "Cycled Events",
then all the events inside the Loop/Cycle are repeated and the created
events replace the existing. The repeating goes on for as many times
it lakes to fill the Part.

Fill

This function only works when the "select" menu is set to "All Events",
"Looped Events" or "Cycled Events". It then fills the whole Part/the Loop/
the Cycle with notes that have a pitch corresponding to the centre of the key
Edit window as it is scrolled at the moment. The notes are spaced according
to the Snap value and are all given a length corresponding to the Quantize
value.

18-16

Cubcal

Kev Edit

Reverse

This reverses the order of all events that are affected by the operation. Like
when you turn a tape backwards.

Delete

This deletes all events (notes, Pitch Bend, Controllers, the lot) that are set to
be affected.

Changes via MIDI

You can change notes' properties via MIDI. You can give notes new pitches,
new Key On Velocity, new Key Off Velocity or all of these at the same
time.

Click on the MIDI Connector symbol to activate MIDI Input. Decide what
you want to change by clicking on any combination of the three symbols for
note and velocity values.

The MIDI In button, the Ear button and the three buttons for Pitch,

Note On Velocity and Note Off Velocity

Select the first note you want to change. Play your keyboard (or other MIDI
device) and the values for that note will change. Cubcat automatically
moves on to the next note in the active Part so that all you have to do to
change its values is to play the keyboard again. You may activate a new Part
or select a new note in the same Part at any time. A fast way to move back
and forth among the notes to change their values is to use the l^I and l^J
keys on the computer keyboard.

Cubcal

18-17

Kcv Edit

Step Programming

You can input notes in step time. Activate Step by clicking on the foot icon
in Lite Functions Bar. The MIDI connector automatically gets activated to
indicate that input is supposed to come via MIDI.

When you activate Step Input, the MIDI In connector is automatically turned on.

Note input begins at the Song Position and notes are put into tlie active Part.
The notes will be spaced according to the Snap value, and will have the
length of die Quantize value. You may of course change these values at any
time during die input.

Play the keyboard and the first note/chord will be input at the Song Position.
When you have released the last key, Cubeat advances one step for you to
input a new note/chord. You may use rewind, fast forward, or enter a new
Song Position at any time to move input to that Position. You may also
activate another Part at any time.

To move one step without entering any notes, press the [Tab] key on the
computer keyboard.

The key velocities will be read and input with the notes.

The Insert Key

If you press [Insert] on the computer keyboard, a note is inserted at the same
position as the currently selected note. It will take on the same default
values as when you use Fill.

The In Button

If you activate the In button, all the notes after the current Position will be
moved one step forward in time, each time you input new notes or press
I Tab].

18-18

Cubcal

Key Edit

The Controller Display

The Key Edit window also allows you to edit non-note events like Velocity
values. Program Change messages, Pitch Bend, After Touch and Continuous
Controllers, graphically. The Controller Display is made up for fast and
powerful editing, so only the most common Continuous Controllers are
directly included. For even more detailed (numeric) editing of non-note
events and unusual controllers, use Grid Edit.

You turn the Controller Display on and off by clicking on the Ctrl button or
by pressing [Alternate]-[C] on the computer keyboard. When it is on, the
lower part of die Grid turns into the Controller Display. You may at any
time drag the dividing line between the Controller Display and the note Grid
so that you use the window as effectively as possible. This does not change
the range of values that are displayed, it scales the Controller Display. This
means that you will always be able to see the full value (most often 127) of
any event, it is the magnification that changes when you move the dividing
line. This is obvious if you check the scaling lines on the right side which
indicate 25%, 50% and 75% of the top value.

The Control Button...

... and some modulation wheel events in the Control Display.

Cubcal

Kev Edit

There is a box on the left side below the event type icon that shows the
vertical mouse position according to a scale corresponding to the value of
the events (most often 0-127),

MmD

119

llic event type icon and the value box just under it.

Only one Part a time (the active Part) is displayed and edited.

Selecting Event Type

To the left you have an icon indicating what type of event is currently shown
(one at a time). To change this, press and hold down the left mouse button

over the icon and a pop-up menu appears. Select the type of event you want
to display.

Pitch“Bend
flf ter touch

Lie 1 oc i ty

Po1y-Press_

MOD

Modulation

BreathCt r 1

Foot Ctrl

MainUo1ume

Balance

Pan

Cubcal

Key Edit

Definin}* Your Own Controllers

For those of you who really want to get into Controller editing, there arc
three Controllers in the list that are not directly specified, the last three. You
can set a Controller number for these three yourself.

When you select "Unknown Control" you are always asked to specify a
Controller number in a Dialog box. Use the left and right mouse button to
scroll the list of numbers (click on the number) or to bring up a pop-up
menu with all Controllers' names (click on the name), and select one. When
you are 1 mished, click Exit. Use this for temporary editing of some unusual
Controller.

When you double click on the Event Type icon a dialog box opens up
allowing you to select a Controller for each one of the last two items on the
pop-up menu under the event type icon. Use the left and right mouse button
to scroll the list of numbers (click on the number) or to bring up a pop-up
menu with all Controllers’ names (click on the name), and select one. When
you arc finished, click Exit. The selected Controllers appear at the bottom of
the Event Type menu. Use these two for some Controllers you use often.
Some synths allow you to specify an arbitrary Controller number to change
certain functions via MIDI, and these two are perfect for this.

The Tool Box

If you press and hold the right mouse button the Tool box appears. But when
you arc editing non-note data, only the arrow pointer, the eraser, the com¬
passes, and the pencil have any function. Therefore, when you move into
this area, the pointer changes into the arrow, if the tool selected doesn't
apply.

Cubcat

18-21

Kditing Velocity

Velocity values arc shown as vertical bars below the start point of the note
they belong to. Several velocity values may be placed on top of each other
(in a chord for example).

Some notes with their corresponding velocity graphs. Observe the selected note.

If you do graphical editing of overlapping velocities (chords) you are
editing the whole chord at the same time. To edit the velocity values of
individual notes, use the Info-line.

Using the Arrow pointer

If you click on a bar using the arrow pointer, this is the same as selecting the
notc(s) in the grid. So, this can be used to Cut, Copy, Keep, Delete notes and
so on as usual. You can also drag a rectangle around velocity bars to select
all notes from one point to another.

This is somciinies teller ihan dragging a reclangle in ihe noie grid, since
dial only sclccis noies wiihin die veriical bounds of die reclangle.

Using the Pencil

You can draw in new velocity values by using the pencil. Either just click
with the left mouse button on the bar to set a new value or drag vertically
while holding down the left mouse button to change the value. You can also
drag the pencil over several bars and thereby draw new velocity values for
several notes in one drag. The Snap value applies, so you would generally
make sure that the set Snap value is smaller than the distance between your

18-22

Cubcal

Kev Edit

____

notes/chords. OUicrwisc, several notes/chords may be given the same
velocity value when you drag.

The value box at the left side of the display shows you what values are
drawn.

Using the Compasses

You can draw a ramp using the Compasses tools and thereby create even
velocity changes, like fade ins and fade outs. Just remember that even
though MIDI has a linear velocity scale, most instruments interpret this as
exponential volume changes.

Position the pointer where you want the ramp to start. Hold down the left
mouse button and drag in any direction to the point where you want the
ramp to end. A line shows you where the tops of the velocity bars will be
when you release the mouse button.

... creates a short fadc in.

Cubcat

Key Edit

Editing Non-note Events

There is one very important thing to observe about non-note events. If you
for example pul in one single modulation event with a value of 63, this will
be displayed like this:

The figure above might look like an "infinite" series of modulation events
all with the value 63, but it is not, it is only one. It is a graph of instantly
moving the modulation wheel to position 63 and leaving it there.

It is important to remember that drawing, or in any other way inputting,
controllers makes them stay at the last set value for an infinite amount of
time. Sustain pedal (damper) for instance, will vary between 0 and 127
every time you press or release the pedal, but slay at the last value as long as
you don't move your fool on or off it. Draw in one "foot down" event, and
the notes will sustain until a "foot up" event appears. All MIDI events can
be thought of as a list, and it this list that is showed horizontally in the
Controller Display. Every time you see a jump from one value to another
there is a new event in the 1 isl.

Foot Foot Foot Foot Foot

Down Up Down Up Down

Cubeat tries to clean up Controller changes that can lead to problems,
especially when your music goes from one Part to another, but it can't
correct everything. It is up to you to "zero” controllers when you want
them zeroed. Read the chapters about recording different types of
events and the Chase events functions on page 6-7 and 16*2.

18-24

Cubcai

Kev Edit

Activate the Part you want to edit, and select the type of event to be display¬
ed. They arc all displayed identically except for pitch bend. The values for
pitch bend vary between 0 and 8191 rather than 0 and 127. And, pitch bend
also "musically" varies around a centre line since you can bend up or down.
This means for instance that when you draw a new series of Pitch Bend
values, they always start at centre value, not zero.

Using the Arrow Pointer

You can drag the pointer to make an enclosing rectangle, but it has to touch
one event in order for anything to be selected. This means that it must at
least enclose one "jump" from one value to another, in order for anything to
get selected. See the illustrations below. Once you have one or several
events selected they can be deleted, Cut, Copied and so on as usual.

I>rawing a rectangle like this...

... selects nothing!

Cubeat

18-25

Ke y Edit

Hul this rectangle...

... selects one controller event.

Cutting or deleting the events does not zero the values in the deleted
area. It removes the events from "the list", which means that whatever
event-value was before that, is valid up until the next existing event.

Pasting cvenLs puls them in, beginning at the current Song Position as
always. The Pasted events are inserted at their relative positions in the "list",
no events arc deleted.

Cubcal

Key Edit

Using the Pencil

The pencil can be used to put in new events and to change the values of

existing ones:

• If you click once where there are values, the last event before the
position you click gets a new value corresponding to the vertical pen
position. The Snap function directs your input to the closest event.

• I f you drag over events, their values are changed, but no new events
are inserted. Snap directs your input to the closest event.

• If you hold down [Alternate], new events are put in, replacing
existing events, if there are any. All events are put in at the closest
Snap value. Click once lor one event, drag the pencil for many
events. Use the Snap value to make sure that the density of the evenis
isn't higher than it has to be.

If you click once with ihe pencil...

... the existing event gets a new value.

But if you had held [ Alicmalc] down while clicking, a new event had been pul in instead.

Cubeat

18-27

Key Edit

IJ.sinj; the Compasses

You can use the compasses lo draw a ramp lo change the values of existing
evenLs or pul in new events.

Position the pointer where you want the ramp lo start. Hold down the left
mouse button and drag in any direction lo the point where you want die
ramp to end. A line gives you an indication of what the values will be.

• If you drag the ramp over existing events, their values are changed to
those indicated by the ramp when you release the mouse button.

• If you hold down [Alternatel while making up the ramp, new events
are input at a spacing determined by the Snap value. These events
replace existing events.

Using the Kraser

The eraser deletes the event at the closest Snap position.

Please observe that this makes the last event before this valid up until
the next event. It does note "zero'* any controller changes.

You can use the eraser in the Controller Display to click to erase one event
or lo drag lo delete several.

Poly Pressure

Polyphonic pressure data has two values that go with it. First the key that
was pressed, and then the amount of pressure.

In the Controller Display, only the Poly Pressure data for the note displayed
on the Info Line (select one note only!) is shown. When you draw or paint in
Poly Pressure data it also gets this note number (pilch) value.

18-28

Cu heal

Drum Edit

Cubeai

Drum Edit

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w»

18b-2

Cubeal

Drum Edit

Theory

This Edit window is specially made up for editing drum and percussion
parts. It has two major features. One is that the tools and the concept of the
whole window makes it easy and quick to create complex percussion. The
other is that it allows you to handle your drum and percussion sounds via
descriptive names, and decide at any point to redirect MIDI output to a new
sound or sound source, by changing both the Output and the MIDI Channel
for each drum sound afterwards. This second feature is completely depen¬
dent on the Drum Map Parameter, which is set to On or bff for Parts and
Tracks in the Arrange window.

Casual users of Drum Edit will probably stop at using Drum Edit with the
Drum Map parameter set to Off, since the other option is more complex.
What follows is a general explanation of the theory behind the Drum Map in
the two cases. All that is said here about synth keyboards can of course be
applied to drum machine buttons, drum pads or even guitar synths or any
other device that transmits note messages via MIDI. Read the sections that
suit you.

The Drum Map in General

MIDI identifies drum sounds by putting them on different keys. i.e. assig¬
ning them to different MIDI note numbers. That means that when you use a
keyboard to record a drum part in a sequencer, you use one key for bass
drum, one for snare and so on. Normally you are able to rearrange the drum
sounds on the receiving instrument (drum machine, sampler or synth) so that
you can make a sound react on any key number. ^

The Drum Map in Cubeat allows you to make a list of up to 64 drum and
percussion Sounds that you have access to, and define a number of things
individually for each one of them, like what MIDI Channel they are on,
what key (MIDI note number) they are set to react on, how they should be
quantized and so on.

It may take some time to "tell" Cubeat how your drum sounds are arranged
(setting up the Drum Map), but it is worth the time, since it gives you access

Cubeat

18b-3

Drum Edit

to Drum Edit's Tools, and allows you to handle the sounds by names, in a
way that is easier to relate to than MIDI note numbers. You can also save
Drum Maps to disk so that you can easily load a configuration that suits
your current setup.

Only one Drum Map at a time is activated. All Parts in all open Arran
ge windows use the same Drum Map.

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A section o( the Dnim Map when you are editing a Part (or Parts)
with the Dnim parameter set to Off..

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0«KSl>run [ C0l|32 j juarkmi | SjAtarli 70 1 9

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... and when it is set to On.

Ab 3 f 32

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C 3 j KBCtruM t

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I 3 !A tarl t 70 ! 9

5!Atari ! 70 j 9

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With the Drum Map Parameter set to Off

Drum Edit allows you to view, edit and input new notes in a grid. Vertically,
this grid is a list of all the Sounds you are using. Each Sound gets a line
where you can enter a name and set a number of parameters. One of these
parameters is the note number (called I-Note) the Sound outputs on.

An example: If you have a drum machine which receives bass drum on the
key C3, then you should make up a Sound called Bass Drum and set its
I*Note to C3. If you already did a recording of a Part where you were
playing the key C3 to "trigger" the bass drum, then all the C3 notes recorded
in that Part will then be displayed on the B a s s Drum line in Drum Edit.

If you make a pro|ier Drum Map of all the sounds you are using,
recorded notes will be displayed correctly in the Grid whenever you

18b-4

Cubeal

Drum Edit

select Drum Edit, and it will be easy to move, remove, edit and input
new notes.

With the Drum Map Parameter set to On

It is common to use several sound sources to make up a complete drum kit.
You may have recorded the drums at home with a drum machine, and
decide to use a sampler or another drum machine (partly or completely)
when you come to the studio. It is time consuming to remap sounds on a
sampler or reprogram note numbers on a drum machine, Iso Drum Edit is
made up to allow you to quickly set up the right combination of note
numbers, MIDI Channels and Outputs for all the drum sounds, afterwards!

I-Notes and 0-Notes

The most important thing to understand (and most complicated) with Drum
Edit is the handling of notes and the Drum Map parameter.

When this parameter is set to On, all recording into, and playback
from, that Part is directed via the Drum Map.

You can set a Track to Drum Map On or Off, and there is also a parameter
in the Part Info box in the Arrange window that turns the Drum Map On or
Off for each Part individually. Drum Map handling is as with MIDI Chan¬
nels. The Track creates Parts with the same setting as the Tracks itself has.

This is how the Drum Map works: For each Drum Sound you can set up an
I-Note (Input Note). This is a certain key (MIDI Note number) used for
playing (inputting) the drum sound, for example while recording. You can
also set an 0-Notc (Output Note) used for playing back t^ie Sound.

So you yourself define a note for input and another note for output. These
can of course be set to the same note number should you so wish. Recorded
notes are actually stored with yet another note number and there is a good
reason for this.

Let's say that you have recorded a bass drum Part with the Drum Map
parameter set to On for the Track. You did this at home, using a drum
machine you have. If you later want to play back the bass drum sound using

Cubcal

18b-5

Drum Edit

another instrument like a sampler in a studio, you probably have to see to
that the bass drum is output to some other note number. If you did your
homework, and recorded the Pan with Drum Map set to On, then all you
have to do is to locate the bass drum in your Drum Map, and change its O-
Note to some other value.

The same goes for I-Note. Say that you have a rack synth with some drum
sounds in it They are spread over the keyboard range in a way that is
inconvenient for your playing style. Now, set the 0-noies in the Drum Map
so that they match tlie actual notes that play back the sounds on your
instrument. If the instrument plays back the bass drum on the C2 key, then
set the 0-Note for the bass drum to just that, C2. Now you can rearrange the
whole "drum kit" so that the fingering suits you just by setting the right I-
notes.

This is how Cubeat performs this trick: The Drum Map is a list of 64 drum
or percussion definitions, called Sounds. When the Drum Map parameter is
set to On, Cubeat stores these Sounds internally from MIDI Note number 63
and down to 0. That is, the first Sound in the list is always stored as D#3, the
second as D3, the third as C#3 and so on down to C-2. This is fixed and
can’t be changed.

When you play a key that corresponds to a set I-note, Cubeat directs this
incoming MIDI message to the corresponding Sound. If you have set the
first instrument in the list to I-note F3, then all F3’s will be directed to D#3.

Then, in order for you to hear anything Cubeat sends out the right 0-Note.
This should be set to the note number that plays back the drum sound on
your instrument. ‘

So, if you have set the first drum in the list to I-Note F3 and 0-note G5, then
F3 is used to input the notes, D#3 to store them in Cubeat and G5 to play
them back. And again, it is only the middle value (D#3 in our example) that
is actually stored with the recording, both the other two numbers can be
changed at any time.

-1-

I-Note

Stored Note

0-Note

Bass Drum F3

D#3

18b-6

Cubeai

Drum Edit

MIDI Channel and Output

There is also a MIDI Channel and an Output setting for each Sound in the
Drum Map. If you set the whole Part or Track to send on|MIDI Channel
"No", you can here set the playback MIDI channel individually for each
Sound. You can also select different Outputs for each Sound. The Output
and MIDI Channel can of course be handled together as Instruments.

Drum Map On/Off

The Drum Map On/Off parameter has been discussed a lot above. It is used
to decide if sounds should be directed via the Drum Map or not

If you set the whole Track to Drum Map On, then all Parts recorded on that
Track will be set to Drum Map On. You can also set the Drum Map parame-

ter individually for each Part in the Part Info dialog box.

To make use of the I-Note/O-note feature in Drum Edit you have to
have this parameter set to On while recording a/id while playing back
your drum Parts. Furthermore, it has to be set to On or Off, for all the
Parts you are editing. A dialog box will tell you if you are trying to put
’’mixed” Parts into the Editor.

Drum Map Conversion

If you have recorded a Part already and change the Drum Map setting for
that Part (or for the whole Track) a dialog box appears asking you if you
wish to transform the Part(s).

If you turned the Drum Map On, the conversion will look at the note
numbers of the recorded parts and the I-note setting on the Drum Map and
then "transpose" each note so that it appears on the right Sound in the Drum
Editor. ,

If you turned the Drum Map Off, the conversion dialog box will ask you if
you wish the transformation to take place after the I-note or O-note settings.
This however, will make you loose the Output setting for each Sound.

Using Other Editors

If you have recorded a Part with the Drum Map parameter set to On, then all
the notes will be placed somewhere in the range C-2 to D#3 (MIDI Note
number 0 to 63) with the first Sound in the Drum Map at D#3. This means

Cubeal

18b-7

Drum Edit

that it may take some thinking to track the drum recordings down in the
other editors. But it is of course possible to continue editing in any editor as
long as you know what you are doing.

Entering Drum Edit

To edit a Part in Drum Edit, you must either first record in an Arrange
window or you must directly Create the Part, as with all Edit windows.

□ If you wish to create the Part by recording you must decide to set the
Track to Drum Map On or Off before you record.

□ If you Create the Part directly you can set it (or the whole Track if
you should wish) to Drum Map On or Off in the Part Info box right
after it is crpated (but before you enter Drum Edit of course). See
page 9-17 if you don't know how to do that

If you plan to use the Drum Map On feature you should have the Drum
Map set up correctly before you do any editing or recording of notes. (If
you don't have any Drum Map at all, Create a Part, set it to Drum Map
On in the Part Info dialog box, select it and enter Drum Edit to make
up the Map).

Drum Edit can be used to Edit one or several Parts at the same time. It is in
many ways very si^nilar to Key Edit, so if you are fully familiar with that
window, then you won't have to read the whole section on how to handle
notes in Drum Edit to get started, just make sure you understand the Drum
Map. Just note that* the Drum Stick in the Tool box replaces the Pen and that
each Sound has its Own Quantize and Length value (Qnt and Len) used like
Snap and Quantize in Key EdiL Qnt is also used to Quantize different
sounds to individual Quantize values. Even if you are familiar with Key
Edit, read this whole text also, if you want to make full use of Drum Edit.

The window consists of two Parts, the Dnim Map and the Note Grid. You
can decide for yourself how much of the window you want to devote to the
Drum Map and hoi' much to the Note Grid, by dragging the dividing line to
a Position that suits you, just as between the Track List and the Part Display
in the Arrange window.

18b-8

Cubeai

Drum Edit

You have a Position Bar above the Note Grid, very similar to the one in the
Arrange display. The Song Position is shown graphically, just as in the
Arrange window. And just as in Key Edit, if you click onp with the left
mouse button on the Position Bar, the Song Position is moved there, and if
you press [CIr Home] on the computer keyboard, the Song Position is
instantly moved to the left side of the window.

You can use the scroll bars to scroll (left mouse button) vertically and
horizontally and you can change the magnification (right mouse button).
You may also want to turn the Follow Song command on the Options menu
on or off, since you may or may not want the display to fallow the music
automatically.

When you enter Drum Edit, the note grid always displays the current Song
Position, and if Follow Song is active you can use the normal ways of
moving the Song Position (Rewind, Fast Forward and so on) to move to any
point you desire and the window follows. Otherwise, use the scroll bars.

And again, editing can be done during playback, or even while recording.

The Drum Edit Window's Parts

On the top of this window you find the Functions Bar that is similar in all
Editors. Below this you may find the Info Line, if Info-On is active (see
page 19-17).

The central part is of course the Drum Map and the Grid, and below this you
again may see the Controller Display which shows all use of Velocity,
Controllers, Pitch Bend and so on, graphically. i

Cubeal

18b-9

Drum Edit

Setting Up the Drum Map

Editing in General

Only one Drum Map is used at a lime, and all Parts and all Arrange win¬
dows use the same Map. You can Open and Save Maps at any lime, you
don’t have to do that from inside Drum Edit (although it might feel more
logical). ,

You can decide how much of the Drum Map you want to see by dragging
the dividing line between the Map and the Grid.

The Drum Map consists of 64 rows, one fw each Sound. You can step
through the sounds with the [i] and [T] keys on the computer keyboard. The
Drum Map has a number of columns also. Use the mouse to change the
values for a field. Numbers can be changed using the left and right mouse
button and [Shift] as usual, and names are also edited as always.

If you hold down [Control], you are changing this value for all the
Sounds. Use this to set all sounds to the same Output, MIDI Channel
and so on.

Some of the parameters (I-Noie, 0-Noie and LVl to LV4) can be set
directly via MIDI: Drag the dividing line so that the column you want to
change is displayed. Click once on the MIDI In icon (the MIDI connector
symbol). Select the column you want to change by clicking either in one of
the fields in the heading or in one of the fields for any of the Sounds. Select
the Sound you want to change. Now play a note on your MIDI Input source
(keyboard or whatever) and the value for the field is entered. Select another
Sound (and another column if you so wish) and input the next value.

18b- 10

Cubeai

Drum Edit

An example; to set all the I-Notes to the same keys as tlte drum sounds on
your keyboard, do as follows:

□ Click in the I-Note column once so that the text I-Note in the
headings is inverted.

□ Select the first Sound by clicking on it

□

SOUND

QNT

I NOTE

LEN I

BassDrun

Citl

i Snare

Clt2

32 1

Press the key on your keyboard that plays that first drum sound.

Press [i] on the computer keyboard to step to the next Sound.

Repeat the last two steps to enter the I-Notes for all drums, and finish
off by saving the Drum Map to disk.

If you have the Ear turned on, changes in the Drum Map are sent out via
MIDI so that you for example can hear what drum sound will be played.

The Columns

Some of the columns described below only appear if Drum Map is set to On
for all the selected Parts.

Mute

By clicking in this column, you can mute the Instrument. This is only a
temporary setting, that can not be recorded and is not saved with the Drum
Map. You can also Mute all Instruments but the one selected, by activating
Solo on the local menu beside the Function menu, or by pressing
[Alternale]-[S] on the computer keyboard.

I So'o 1

Sound

This is the name of the Sound. When you first enter Drum Edit all Sounds
are named "Sound" and a number between 1 and 64. You click on the name

Cubeai

18b - 11

Drum Edit

or select a Sound and press [Alternate]-[N] on the computer keyboard to
open a regular name box.

Qnt

This is a Quantize value set for each Sound that is used for individual
Quantizing and for inserting and Step Inputting notes.

I-Note

If Drum Map is set t(j) Off for the Part(s), this is the note (the key, the MIDI
Note number) used both to input, to display and to play back the sound. If
the Drum Map is set to On f(x the Part(s) this is the Note used for inputting
the Sound. The value can be set via MIDI.

Len

When you input new notes using the Drum Stick or the Brush or via Step
Editing the notes get this length value. The length may or may not be
important since many drum sounds (especially on drum machines) play to
their end regardless of how long notes you play. Note that this value is set in
regular note values, while the Info Line shows the lengths in ticks.

0-Note

This column only appears if the Part(s) have their Drum Map parameter set
to On in the Arrange window. It is the note (the key number or MIDI Note
number) that is used to play back the sound. This value can be set via MIDI.

Instrument

This column only appears if the Parts have their Drum Map parameter set to
On in the Arrange window. It is the instrument (Output and MIDI Channel)
used for the Sound. li is used to make Sounds send on different Outputs and
MIDI Channels.

Chn

The MIDI Channel the Sound is sending on. If the Drum Map parameter is
set to Off, this number is used for the notes you draw in or in any other way
input directly in the editor. For this to have any effect you must set the Part
to MIDI Channel ”N^".

When the Drum Map parameter is set to Off, this setting has no effect
on notes that you have recorded or that you are recording.

18b- 12

Cubeal

Drum Edit

If the Drum Map parameter is set to On, this is the MIDI Channel for the
whole Sound (all notes). It is a playback MIDI Channel just as the MIDI
Channel setting for each Track or Part in the Arrange wilidow.

For the Chn setting to have any effect you must set the Part to MIDI
Channel "No".

Output

This column only appears if the Part(s) have their Drum Map parameter set
to On in the Arrange window. It is the MIDI Output for the Sound.

LVltoLV4

When you paint or draw in notes in the grid you can decide for one of four
levels for each drum note, by holding down different combinations of keys
on the computer keyboard while entering the notes. What these four levels
are supposed to mean in MIDI velocity numbers is set using LVl to LV4.
This value can be set via MIDI.

This is not a playback function. The values are used when inputting
notes, not while playing them back. The velocity set using LVl to LV 4
will be a permanent part of each note. But velocity for the notes can of
course be edited afterwards, as all other note values.

Changing the Drum Map

If you have the Drum Map parameter set to Off and change the I-Note for a
Sound, while editing, then the notes previously displayed on that line will of
course disappear since the I-Note note number doesn’t correspond to the
notes anymore. Conversely, all notes that are already in* the Part and have
the same note number as the I-Note will appear when a Sound's I-Note value
corresponds to these notes'.

If you have the Drum Map set to On, the Sounds correspond to a fixed
internal map of note numbers. Changing the I-Note and 0-Note setting
doesn’t affect the grid, but any changes take immediate effect on in- and
output.

Cubeai

18b- 13

Drum Edit

Mouse, Quantize and Snap

You set the global Quantize value for Drum Edit by pulling down a pop-up
menu in the Quant box, just as in the Arrange window. The grid lines
change to show the Quantize value graphically, directly in the grid. This
value is used for Quantizing all Sounds. It is not to be confused with Qnt
which is used for quantizing Sounds individually.

There is a mouse box on the Function Bar showing the pointer's position,
similar to the one in the Arrange window. It normally displays positions in
bars/beats/ticks, but if you click on it, it changes to show these in SMPTE
times (hours/minutes/seconds/frames...) instead. When you use the SMPTE
option, the Position values on the Info line and for the Loop start and end
are also displayed in this fonnaL Click again to return to normal position
indication.

There is a box beside the mouse box showing the name of the Sound you are
pointing at (used for moving, copying and so on).

There is also a Snap function. You can set it to a number of values:

Off No Snap

2pp Snap is done to the closest two ticks.

3pp Snap is done to the closest three ticks.

7pp Snap
64T Snap
64 Snap
64. Snap
32T Snap

1. Snap is done to the closest dotted whole note.

Snap also "quantizes", or restricts, what values can be shown in the mouse
position box.

The Qnt value set for each Sound has the same range and values as Quanti¬
ze, but it goes all the way up to 1 (whole notes). The Qnt value is used in the

is dorte to the closest seven ticks,
is done to the closest sixty-fourth note triplet,
is done to the closest sixty-fourth note,
is done to the closest dotted sixty-fourth note,
is done to the closest thirty-second note triplet

18b- 14

Cubcal

Drum Edit

same way as Snap in Key Edit with all types of editing except moving. It is
also used for individual Quantizing of Sounds, see page 19-23.

Len is also a value that can be set for each Sound individually. This is used
just as Quantize in Key Edit in editing operations like drawing and painting
of notes. Step Input, Fill and so on.

The Snap, the Quantize, the Sound Quantize (Qnt) and Len values can be
changed at any time during any type of editing.

JL . 4.JL44 1 Guino |

The Mouse, Sound, Snap and Quant box are all on the
Function bar...

1 SOUND

imi^QNT

1XNOTK

! len I

1 Soured 17

lie

I G8

[32. j

... while Qnt and Len are set for each Sound.

The notes on the Grid

Notes are shown as rhombs in the note Grid. The "color" (grey scale) of
each rhomb represents velocity. Several Parts can be edited at the same
time, but only one at a time is active. Notes belonging to an inactive Part are
dimmed.

Some notes with different velocity values.

MIDI input, as when you play your keyboard, is always directed to the
active Part. This is important when you record, use Step Input or make
any other changes via MIDI. This means that you can direct your input
to one Part or the other by making it active.

□ To activate a Part, click on any note that belongs to that Part.You can
also use the Nexl/Previous Part commands on the Goto menu, which
is convenient if the Part is empty.

Cubeat

18b- 15

Drum Edit

Selecting Notes

There are several ways to select notes, similar to the way you select Parts in

the Arrange window:

□ To select one note, click on it. Selected notes are inverted.

□ To select more notes, hold down the [Shift] key and click on the
notes you want to select You deselect notes individually by clicking
on them agaih (but don't' let go of the [Shift] key until you're
finished). You may very well select notes on several Sounds at the
same time.

□ To select several adjacent notes at the same time you can enclose
them in a rectangle by holding down the mouse button in some free
(white) area in the note display. Drag the mouse to create a rectangle
big enough to "touch" all the notes you want to select You don't
have to perfectly enclose all the notes, it's OK if the rectangle Just
covers some section of the note. Release the mouse button, and the
notes are selected.

□ To deselect all notes, click on some free space in the note display.

□ You can select all notes by using the Select All command from the
Edit menu or by pressing (Control]-[A] on the computer keyboard.

□ You can also use the [<—] and [->] keys on the computer keyboard to
step through the notes. If you combine this with holding down the
[Shift] key you can select several notes from the keyboard. If you
release [Shift] temporarily you are able to use [T] and [i] to step to
another Sound and select more notes.

You can select notQS from active and inactive Parts at the same time,

and also perform any type of editing on them (like moving, copying and

so on) at the same time.

Moving Around and the Goto Menu

You may of course use the scroll bars to change your view in the window.
But you can also mive directly by using the pop-up Goto menu on the
Function Bar. These commands scroll the window, both horizontally and
vertically to some Position. The full function of all these commands is
described on page 18-6.

18b-16

Drum Edit

The Goto commands don't affect selection in any way. They only move
the contents of the window as if the scroll bars where used.

The Info Line

It is possible to numerically change the values for one selected note. This is
done on the .i.Info LineiDrum Edit;. You can hide/show the Info Line by
clicking on the Info On button on the Functions Bar or by pressing
[Alternate]-[l] on the computer keyboard.

[ STWKT 1, 1.144 LENGTH 369 PITCH B4 VELO-OH 92 ytLO-OT? fl CW 1 ~

If no note, or several notes, are selected, then the Info Line shows"-"

for all values.

If you have the Drum Map parameter set to On, the Info Line shows the
actual note values (D#3 to C-2) that the notes represent.

Changing a note's pitch makes it disappear from the Sound it is on and
might make it appear on another (if that Sound is set to a pitch corre¬
sponding to the note).

The two velocity parameters might need an explanation. Note On Velocity
is the speed or force with which you press the key, and Note Off Velocity is
the speed with which you release it. Not all keyboards are capable of
sending out one or the other, but most can send at least the Note On type.
And, not all instruments react to both types either. Check the relevant
instrument's Operation Manual.

The MIDI Channel value is the original Channel number stored with the
note. For this to have any effect you must set the Track (or Part) to MIDI
Channel "No" and the Part(s) to Drum Map Off. See page 9-4 for more info.

Cubeat

18b- 17

Drum Edit

Moving Notes

By Dragging

You may graphically move the selected notes. Just press and hold the left
mouse button with the arrow pointer over one of the selected notes and
move the mouse. If you reach any of the sides of the window, it automatical¬
ly scrolls. When yo^i release the mouse button, the whole group of notes are
moved to the new position. The mouse box shows you where the notes will
wind up. The Snap function acts so that the first note is positioned on the
closest value. This works as a sort of "move quantize". The name of the
Sound you have the pointer positioned over, is also shown in a box to the
right of the mouse box.

All dragged notes are moved to the same Sound.

C 1 aps

116 ”

i L. M

E j

\ ..:.;.:..; : .:

:.1.:.:.i.|..:

Cabassa

[16

1 j

; i : : : i : : : :

E 1 : : : : : i :

.1..:

BassDrun

! 16

4\ 1 i

!.*.

1 !

1 <!>•! ^ i i Hi I

Snare

116

li 1 i<

L..i I liAj .1.1

Hi hat Clsd

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Hihat Open

Il6

II M 1 i

1 1
!_i

M ! M I !♦!

All the selected (black) notes would be moved to the cabassa if the mouse
button was released at this momenL

You can use this feature when duplicating notes (see below) to make one
Sound duplicate some, or all, notes of several sounds by just doing one
drag. Select notes from several Sounds and drag them to another Sound
while holding down ^ Alternate] on the computer keyboard. The mouse box
shows you where the; first note will be when you release the button, and the
box beside it shows you what sound the notes will wind up on.

By ** Kicking**

You can also "Kick"| a note one Qnt value at a time, forward or backwards in
time. Hold down tbe right mouse button to bring up the Toolbox. Select one
of the Kickers. Mov^ the pointer over the note you want to move. It is the tip

18b- 18

Cubeat

Drum Edit

of the shoe you are Kicking with. Klick once, and the note moves one Qnt value
in the selected direction.

Duplicating Notes

You duplicate notes by holding down the [Alternate] key while dragging.
Everything else is as when moving.

Creating New Notes

You can paint new notes into the active Part using one of the tools in the
Toolbox. Hold down the right mouse button to bring up the Toolbox. Select
the Drum Stick or the Paint Brush. Move the pointer to the position where
you want to input a note. The mouse box shows the position in bars/beats/
ticks or SMPTE (click on it). The name of the Sound you have the pointer
positioned over, is shown in a box to the right of the mouse box.

If you use the Drum Stick, a new note is input at the closest Qnt position set
for that Sound. The notes get a length corresponding to the set Len value for
that Sound. If you want to delete a note, just click on it again, using the
Drum Stick.

If you have just deleted one note you can drag over other notes and
delete these too as long as you don't release the mouse button.

Cubeal

18b- 19

Drum Edit

If you use the Paint Brush, you can move the pointer and "paint" in new
notes by dragging. Normally, movement is restricted to within the sound
only, but if you hold down [Alternate] on the computer keyboard you will
be able to move freely. The new notes are created at a spacing correspon¬
ding to the Sound’s Qnt value, and they all get the length of the Len value

You can also give the notes one of four velocity values by holding down
keys on the computer keyboard while drawing and painting in notes. What
these levels actually mean is set using the LVl to LV4 parameters in the
Drum Map. Seepage 19-13.

No key Level 1

[Shift] Level 2

[Control] Level 3

[Shift] + [Control] Level 4

If the In button is activated on the Functions Bar when you use the
Drum Stick or Brush, then all notes in the Part will be moved one Qnt
value forward when you input new notes, just as with step editing.

When you are finished, press and let go of the right mouse button once, to
bring back the arrow pointer. Or, select another tool from the Toolbox.

You can also create new notes using the pop-up Functions menu, see
page 19-25.

18b-20

Cubeal

Drum Edit

Deleting Notes

There are several ways to gel rid of unwanted notes. ^

□ Click on them with the Drum Slick. More notes can be deleted if you
drag over them without releasing the mouse button in between.

□ Select them and press [Backspace] on the computer keyboard.

□ Select them and press [Delete] on the computer keyboard.

□ Select them and use Delete Events on the Edit menu.

□ Hold down the right mouse button to bring up the Toolbox. Select
the Eraser. With the left mouse button, click on the notes you want to
eradicate. When you are finished, press and let go.of the right mouse
button once, to bring back the arrow pointer. Or, sdeci another tool
from the Toolbox.

You can also conditionally delete notes using the pop-up Functions

menu, see page 19-25.

Monitoring notes

Of course, you can have playback running while you are editing. And, you
can also use the cue function in the Edit windows. But there are two more
ways to listen to your music in Drum Edit.

The Magnifying Glass

Hold down the right Mouse button and select the Magnifying Glass. When
you click on a note with the left mouse button, using this tool, it is played
back. You can also hold down the mouse button and dragilhe Magnifying
Glass around over the notes.

Cubeal

18b-21

Drum Edit

The Ear

When you click on the Ear symbol on the Functions bar, notes will be output
automatically when you click on them and when you create them using the
Drum Stick or Paint Brush. Changes in the Drum Map are also sent out.

The Loop I

In the Edit windows, you can use the Cycle just as you are used to. But you
can also set up a local Loop, which is a sort of mini-cycle for the Parts in the
Edit window only. This means that the Parts in the Edit window follow one
"cycle" (the Loop) and all other Parts follow another (the Cycle).

There are four ways to set the Loop:

□ Use the left and right mouse button to directly set the values in the
loop boundary boxes on the Functions Bar. The upper box is the start
of the loop, and the lower is the end.

□ Double click on the boxes and enter a value, just as with any
position.

□ Use (Alternate]-(L] and (Alternate]-(R] to open the Loop boundary
boxes and enter the value.

□ Drag directly on the Position Bar, from left to right.

Either way, the current loop is shown in black on the Position Bar when it is
on, and in grey when it is off.

An inactive ljcx)p between 2.1.0 and 3.1.0.

You activate/deactivate the Loop by clicking on the Loop button or by
pressing (Alter nate]-(0].

18b-22

Cubeat

Drum Edit

m ;

The Loop Button

When the Lcx)p is active, the Part in the Edit window loops almost indepen¬
dently of the rest of the music. We say "almost", because the Loop is still
dependant on the Cycle so that the Loop is never longer ^an the Cycle, and
they always even up rhythmically to avoid any confusion. In other words,
every time the Cycle starts over again, so does the Loop.

The Loop is also used to direct editing to the events inside the Loop. See
next page.

Quantize and other Functions

General

You can use all the Functions of the Functions menu in Drum Edit. Plus,
there is a pop*up Functions menu, with some special commands. Using the
Functions in an Edit window also gives you better control over what is
affected.

The "select" menu allows you to Quantize, change lengths. Cut, Copy and
use all the other functions you have at your disposal, on a restricted set of
notes and other events.

Cubeat

18b-23

Drum Edit

In the Edit windows, all Functions (both on the main menu bar and on
the pop-up Functions menu) look at the ’’select** menu for deciding
what events they should operate on.

El Goto

on All

(^Function

fli1 Euents

Looped Euents

Euents

Select
Looped
Cyc1ed

ed Euents

1 Selected Eu.

The "select" menu is found between the pop-up menus
"Goto" and "Function".

To direct the Functions, choose one of the options in the pop-up menu
between the Goto and Functions menus:

All Events

All events, active or inactive, will be affected.

Looped Events

All events inside the Loop will be affected, whether the Loop is On or Off,
and regardless of if the events come from active or inactive Parts.

Cycled Events

All events inside the Cycle will be affected, whether the Cycle is On or Off,
and regardless of if'the events come from active or inactive Parts.

Selected Events

All selected events, jnactive or active, will be affected.

Looped Selected Ev.

Those events that are inside the Loop and selected will be affected.

Cycled Selected E^.

Those events that are inside the Cycle and selected will be affected.

18b-24

Cubeat

Drum Edit

Cubeat tries to help you by automatically changing the selection from this
menu when you select events, set the Loop and so on.

Quantizing

Quantizing can be done either for all Sounds according to the Quantize
value or for one Sound according to its Qnt value.

□ If the "select" menu is set to Selected Events, Loc^d Selected

Events or Cycled Selected Events, and no events are actually
selected, then the selected Sound will be Quantized after the Qnt
value. ;

□ In all other instances, all events in all Sounds that are set to be
affected will be Quantized after the Quantize value.

The rest of the main Functions menu is described in the chapter "Quantizing
and the Functions menu".

The Pop-Up Functions Menu

This menu has some special commands on it. Again, only some events may
be affected, depending on the "selection" menu (see above).

(^Function

Fiued Note
Delete Note
Keep Note

Repe

Fi I I
Reuerse
Delete

Cubeat

18b-25

Drum Edit

Fixed Note

This gives all the notes affected the same note value as the last selected note.
All notes’ positions, velocity and MIDI Channel values are left intact.

Make sure you only have one note selected when you use this function.

Delete Note

This Deletes all notes with the same pitch as the selected note, but leaves all
other notes. This means that if you for example select a note from the Sound
Bass Drum then al^ Bass Drum notes will be deleted.

Make sure you only have one note selected.

Keep Note

This function is sort of the reverse of Delete Note. All notes that have the
same pitch as the selected one are kept. All others are deleted. Use this to
delete all Sounds but one.

Make sure you only have one note selected.

Repeat

This function is used to repeat a section of the Part until the end of the Part.
You define the "repeat cycle" by setting the Loop or the Cycle. From there
on there are two options:

□ If the select menu is set to "Looped Selected Events" or "Cycled
Selected Events", then the selected events inside the Loop/Cycle are
repeated as many times as it takes to fill the Part. The created events
are added to the existing.

□ If the select menu is set to just "Looped Events" or "Cycled Events",
then all the events inside the Loop/Cycle are repeated and the created
events replace the existing. The repeating goes on for as many times
it takes to fill the Part.

Fill

This function only works when the "select menu" is set to "All Events",
"Looped Events" ^r "Cycled Events". It then fills the whole Part/the Loop/
the Cycle with notes that have a pitch corresponding to the selected

18b-26

Cubeal

Drum Edit

Sound. The notes are spaced acccM’ding to the Qnt value and are all given a
length corresponding to the Len value.

Reverse ^

This reverses the order of all events that are affected by the operation. Like
when you turn a tape backwards.

Delete

This deletes all events (notes. Pitch Bend, Controllers, the lot) that are set to
be affected.

Changes via MIDI

You can change notes' properties via MIDI. You can give notes new pitches,
new Key On Velocity, new Key Off Velocity or all of these at the same
time.

Drag the dividing line as far to the left as possible, so that only the
Mute, Sound and Qnt columns are shown, to indicate that it is the notes
in the Grid you want to edit, not the values in the Drum Map.

1 SOUND

|qnt

pz:^

T on 1

: : ;• \
.:.;.

Gu iro

116

: : :« !

; : :• j

Cowbell Lo

r : :• !

: : 1

Click on the MIDI Connector symbol to activate MIDI Input. Decide what
you want to change by clicking on any combination of the three symbols for
note and velocity values. i

Select the first note in the Sound you want to change. Play your keyboard
(or other MIDI device) and the values for that note will change. Cubeat

Cubeal

18b-27

Drum Edit

automatically moves on to the next note in the Sound so that all you have to
do to change its values is to play the keyboard again. You may activate a
new Part, or select a new note in the same Part at any time. A fast way to
move back and forth among the notes to change their values is to use the
[<-] and [-»] keys on the computer keyboard.

Step Programming

You can input notes in step time, one Sound at a time. Activate Step by
clicking on the foot icon in the Functions Bar. The MIDI connector automa¬
tically gets activated to indicate that input is supposed to come via MIDI.

Drag the dividing line as far to the left as possible so that only the
Sound Name and Qnt values are shown.

When you activate Step Input, the MIDI In connector is
automadcaily turned on.

Note input begins at the Song Position and notes are put into the selected
Sound. The notes will be spaced according to the Qnt value, and will have
the length set with the Len value. You may of course change these values at
any time during the input.

Play the keyboard and the first note will be input at the Song Position. When
you have released the last key, Cubeat advances one step for you to input a
new noie/chord. You may use rewind, fast forward or enter a new Song
Position at any time to move input to that Position. You may also activate
another Part or Sound at any time.

To move one step without entering any notes, press the [Tab] key on the
computer keyboard.

The key velocities will be read and input with the notes.

18b-28

Cubeat

Drum Edit

The Insert Key

If you press [Insert] on the computer keyboard, a note is inserted at the same
position as the currently selected note. It will take on the.same default
values as when you use Fill. '

The In Button

If you activate the In button, all the notes after the current Position will be
moved one step forward in time, each time you input new notes or press
[Tab].

The Controller Display

The Drum Edit window also allows you to graphically edit non-note events
like Velocity values. Program Change messages, Pitch Bend, After Touch
and Continuous Controllers. The Controller Display is made up for fast and
powerful editing, so only the most common Continuous Controllers are
directly included. For even more detailed (numeric) editing of non-note
events and unusual controllers, use Grid Edit.

The Control Button,,.

... and some modulation wheel events in Ihe Control Display.

The Controller Display works in almost all respects as in Key Edit, and is
described on page 18-20. Non-note events are put into the active Part.

Here are the differences:

□ Only Controller events on the same MIDI Channel as the selected
Sound are shown.

□ Drawn or painted non-note events get the same MIDI Channel value
as the selected Sound is set to.

Cubeat

18b-29

Drum Edit

□ Poly pressure data is only displayed if it has the same pitch (note

number) value as the I*Note value for the selected Sound. This value
is also used for painted or drawn Poly Pressure data.

18b-30

Cubeal

Grid Edit

Cubeal

Grid F.dit

IIIMI* II l|

.f .

19-2

Cubeat

Grid Edit

Users of Pro-24 will feel at home with this edit window. It has two Parts,
one is a list of all events, and the other is a graphical display, a grid. Each
entry in the list is represented by a box in the grid, and fo| notes, the length
of the boxes correspond to the length of the note. You have a Position Bar
above the grid. The Song Position is shown graphically in the grid, as a
Triangle on the Position bar and as an arrow in the list.

It might take some time to get used to "read" the grid if you haven’t used a
similar editor before. Horizontally the grid represents time in bars, and
vertically it corresponds to the events in the list. A series of notes like a
straight eighth note hi-hat Pattern would therefore be represented as a
diagonal line of boxes, and a chord is some number of boxes with their left
sides aligned.

The grid can only be sized to accommodate a certain amount of bars
(up to seven, in 4/4), and since you don't know how long it is between
the events, it is not sure that you at all times will see a box for each
event in the li.st. You might have to scroll the display horizontally.

You can use the scroll bars to scroll (left mouse button) vertically and
horizontally if the view isn't the one you want, and you can also change the
magnification (right mouse button) to your liking. You may also want to
turn the Follow Song command on the Options menu on or off, since you
may or may not want the display to follow the music automatically.

When you enter this window it always displays the current Song Position,
and if Follow Song is active you can use the normal ways of moving the
Song Position (Rewind, Fast Forward and so on) to move to any point you
desire and the window follows. Furthermore, if you click once with the left
mouse button on the Position Bar, the Song Position is moved there, and if
you press [Clr Home] on the computer keyboard, the Song Position is
instantly move to the left side of the window.

And again, editing can be done during playback, or even while recording
(see page 17-4).

Cubeat

19-3

Grid Edit

The Grid Edit Window’s Parts

On the top of this window you find the Functions Bar which differs a bit
from Key and Drum Edit.

Below this is the list and the grid. You can move the dividing line between
the two, so that the display is the one you want. This is done in the same
way as moving the dividing line between the Track List and the Part Display
in the Arrange windows.

Mouse, Quantize and Snap

You set the Quantize value for Grid Edit by activating a pop-up menu in the
Quant, box just as in the Arrange window. The grid lines change to show the
Quantize value graphically, directly in the grid.

There is a mouse box on the Function Bar showing the pointer’s position,
similar to the one in the Arrange window. It normally displays positions in
bars/beats/ticks, but if you click on it, it changes to show these in SMPTE
times (hours/minutes/seconds/frames...) instead.

When you use the SMPTE option, the first two columns change from
showing an events Start Position and its length (notes only) to showing its
Start Time and End Time. The positions for the Loop suirt and end are also
displayed in this fofmat. Click again to return to normal position indication.

KSTART-POS

1 LENGTH

[STATUS

1 . 1 .

Note

1.1.

Note

0 1. 2.

Note

1 START

-TIME

-time

: 8:

0 0;

: 8:

19-4

Cubcai

(i rid Edit

There is also a Snap function. You can set it to a number of values:

Off No Snap

2pp Snap is done to the closest two ticks.

3pp Snap is done to the closest three ticks.

7pp Snap is done to the closest seven ticks.

64T Snap is done to the closest sixty-fourth note triplet.

64 Snap is done to the closest sixty-fourth note.

64. Snap is done to the closest dotted sixty-fourth note.

32T Snap is done to the closest thirty-second note triplet.

1. Snap is done to the closest dotted whole note.

The Snap value is used to restrict certain editing to even note values and to
adjust the spacing of input notes. It also "quantizes", or restricts, what values
can be shown in the mouse position box.

The Quantize value is used for regular Quantizing operations, but also for
determining lengths when you input notes. These two values (Snap and
Quantize) can be changed at any time during any type of editing.

SNAP IG

2. 2. 0

QUANT 16

The Mouse Snap and Quani box are all on the Function bar.

The Events In the List

You either edit one Part at a Time or one whole Track. If a Part is selected
when you enter Grid Edit, then this will be displayed. If no Part is selected,
then the active Track will be edited. If you are editing the whole Track, then
the Parts on that Track are divided into active (grid boxes have solid outli¬
nes) and inactive Part (grid boxes have dimmed, dotted outlines).

Only one Part at a time is active Part, and you activate a part by selecting
(see below) any event in it.You can also use the Next/Previous Part com¬
mands on the Goto menu for this, which is convenient if the Part is empty.

Cubeal

19-5

CridEdit

Mil Mi

Active and Inactive events in the Grid. The black events are selected.

There are several ways to select events, similar to the way you select Parts
in the Arrange window:

Selecting Events

• To select one event, click on it, either in the list or in the grid.
Selected events are inverted.

• To select more events, hold down the [Shift] key and click on the
events in the grid. You deselect events individually by clicking on
them again (but don't' let go of the [Shift] key until you're finished).

• To sciect several adjacent events at the same time you can enclose
them in a rectangle by holding down the mouse button in some free
(white) area in the grid. Drag the mouse to create a rectangle big
enough to "touch" all the events you want to select. You don't have to
perfectly enclose all the events, it's OK if the rectangle Just covers
some section of each one. Release the mouse button, and the events
arc selected.

• To deselect all events, click on some free space in the grid.

• You can select all events by using the Select All command on the
Edit menu or by pressing [Control]-[A] on the computer keyboard.

• You can also use the [t] and [i] keys on the computer keyboard to
step through the events. If you combine this with holding down the
[Shift] key you can select several events from the keyboard.

You can select events from active and inactive Parts at the same time,

and also perform any type of editing on them (like moving, copying and

so on) at the same time.

19-6

Cubeal

_ ___(i rid E dit

Moving Around and the Goto Menu

Of course you may use the scroll bars to change your view in the window.
But you can also move directly by using the pop-up Goto menu on the
’w' Function Bar. These commands scroll the window, both horizontally and
vertically to some Position. The full function of all these commands is
described on page 18-6.

Display Filters

You might not want to see all types of events in the list. If you are only
interested in editing Program Change, then all other events are just in the
way.

The Display Filters do not remove, mute or in any other way change the
events. Any editing affects all events whether you use a Display Filter to
hide them or not. The Display Filters should not be confused with Mask
which has another purpose.

You have a small box with six iwo-leller abbreviations on the Functions bar.
These are used to select which types of events are displayed in the grid and
the list. If you click on them, they switch between upper- and lower-case
letters. Upper-case means that the event type gels displayed, and lower-case
that it doesn't. Click with the left mouse button to set up any combination.

MO PP CT
PC «T PB

NO Notes

PP Polyphonic Key Pressure (sometimes called Individual After Touch)
CT Control Change (Continuous Controllers and Controller Switches)
PC; Program Change

AT After Touch (sometimes called Channel Pressure)

PB Pilch Bend

•WK Special Events are always shown.

Cubeal

19-7

(;ri(l Rdit

The Columns and the Different Types
of Events

The way the columns arc used differs a little bit for the different types of
events. But two columns are normally the same, Start-Pos (Siarl-Timc when
positions arc displayed as SMPTE), which is the Position of the event, and
Chn, which is the MIDI Channel stored with the MIDI-cvcnls ("Special"

rv^rontc rir\ Cr.r (Krt »-o1. irk Kirk^rrk rtm/ r>rrr>r>t ♦ n

Itclvv./ iivy At i iC4 11klS./A ^ ^ M AIA t LAA LA LKJ Aa«^*V./t^41jr V/al j C4 A

Part must be set to play back on MIDI Channel "No" (see page 9-4).

The values in the Columns can be edited using the left and right mouse
button and the [Shift] key as usual.

The Position values (bar, beat and tick or SMPTE times) can be edited one
numeral at a time. If you change an event’s position so that it winds up after
the next event or before the previous, in time, the list is instantly re-sorted.
The events are always shown in time order, with the earliest at the top and
the latest at the bottom. This may seem confusing at first, but in fact is quite
logical. If you just keep the mouse button down, you arc always changing
the position of the last selected event.

Not all values can be changed for all types of events. Position values,
notes' velocities and some other values can also be changed graphically,
see page 19-14 and 15.

Below follows a description of the columns that vary for the different types
of events.

Notes

These arc the only events which have a length value. .i.Vall to 3;Vail is the
Pitch (the Note Number, C-2 to G8), Val2 is the Note On Velocity (someti¬
mes called Attack Velocity) and Val3 is the Note Off Velocity (Release
Velocity). Status is Note and this can't be changed.

Poly Pressure

This is the type of pressure that is individual for each key, Val 1 is the Note
Number, which is used to identify which key was pressed. Val2 is the
amount of Pressure (0-127). Status is Poly-Press and can't be changed.

19-8

Cubcal

(irid Edit

Control Change

These are the Continuous Controllers. Vail is the type of Controller,
internally identified by MIDI as a number between 0 and 127. When you
change this, the Status shows the name of the Controller for those that are
standardized, and "Control xxx." (where xxx is the number) for all others.
Val2 is the value for the Controller (the amount of Control Change), 0-127.
You can scroll the Status field directly, which is the same as changing Vail.

Program Change

These are Program Change numbers, and they only have one value, Vail,
which ranges from 0 to 127. Status is always Prog Change.

After Touch

This type of Pressure is sent globally for all keys pressed. This only has one
value, Vail, which is the amount of pressure. Status is always Aftertouch.

Pitch Bend

Pitch bend takes on two values, both defining the pitch. The first (Val 1) is
for finer changes, and the second (Val2) for coarser. 0 64 is centre position
of a pitch wheel, 0 0 is full negative swing and 127 127 full positive.

System Exclusive

A complete package of System Exclusive data is shown as one event. The
status shows the manufacturers ID code, if it is known. The Vail column is
the MIDI Channel or Device number sometimes included in an event. If you
set this to anything but 0, the event will use the MIDI Channel set for the
Part, it will otherwise use the original Channel Number ("No"). If you have
problems with sending a dump out, try with this value set to 0.

The Comment column shows parts of the actual message in hexa-dccimal
code. If you click in this column, a dialog box opens up where you can edit
the Sys Ex code (if it isn't too long). If you're not absolutely sure of what
you are doing, you should probably avoid hcxa-decimal editing of System
Exclusive messages!

System Exclusive is not sent out from Grid Edit, you have to return to
the Arrange window to ’’play it back" to your equipment.

Cubeal

19-9

(^rid Edit

Special Events

The types of messages described below arc not really MIDI events, but
rather internal Cubcat types of events (we call them Special events). There¬
fore they have no MIDI Channel value. By scrolling in the Status column,
you can change one type of Special Event into another.

Mute Events

These a-rc Miiie and Un-mute events as described in chapter iffTonling
Mutes. Vail is the number of the Track that the Event mutes, Val2 is the
type of event (l=Mute, 0=Un-Mutc) and the Comment columns shows you
the name of the Track that the Event mutes. Be careful when adding,
removing or editing these events (check the comments on page 14-4).

Slop Events

These events have no values at all. They just stop Cubcat, as if you had
clicked the Stop button yourself. This is good for example in a live situation.
Insert a Stop Event at the end of a piece, and Cubcat stops there. At this
position you might have "chained" a second piece after this first, in the same
Arrange window. This second piece could then be started just by pressing
[Enter] on the computer keyboard. Or, you might switch to a another
Arrange window and start playback from there.

Te.xt F"vents

These arc just events that allow you to enter a comment to for example a
System Exclusive or Special event. No MIDI is sent out from this type of
event. Click in the Comments column, and a dialog box opens up where you
can enter text. End by pressing [Ketum] and the dialog box closes.

Cubcat

Moving Events

By Dragging

Ol id Edit

You may graphically move the selected Events. Just press and hold the left
mouse button with the arrow pointer over one of the selected events and
move the mouse.

It is only the horizontal movement that matters when you drag. If this
soundsconfusing, think about it for a while. The horizontal axis shows the
events' positions in time, and the vertical axis also docs in a way, in that the
events always iirc sorted with the earliest at the top and the latest at the
bottom.

The mouse box shows you where the first event will wind up when you
release the button.

T you reach any of the sides of the window, it automatically scrolls. When
s^ou release the mouse button, the whole group of events are moved to the
new position. The Snap function acts so that the first event is positioned on
the closest value. This works as a sort of "move quantize."

Moving events to a new position means that the whole list probably has to
be "re-sorted", but the program always tries to scroll the grid and the list so
that as many of the moved events as possible are shown at their new posi¬
tion after the drag.

By "Kicking"

You can also "Kick" an event one Snap value at a time, forward or back¬
wards in time. Hold down the right mouse button to bring up the Toolbox.
Select one of the Kickers. Move the pointer over the event you want to
'ove. It is the tip of the shoe you are Kicking with. Click once, and the
'^vent moves one Snap value in the selected direction.

Cubeal

19-11

(iirid Kdit

Duplicating Events

You duplicate events by holding down the [Alternate] key while dragging.
Everything else is as when moving.

Creating New Events

You can paint new events into the active Part using one of the tools in the
Toolbox.

Decide what type of event you want to put in by pulling down the Pop-up
menu "Ins." on the Functions bar. Select one type. The text after "Ins."
shows what type is currently selected.

Note

PoIy-Press
Ctrl Change
ProgChange
flf ter touch
Pitch-Bend
Sy sE«

Special

Hold down the right mouse button to bring up the Toolbox. Select the Pencil
or the Paint Brush. Move the pointer to the position where you want to input
an event. If you have selected "Special", you scroll the Status column to turn
them into the type of Special event you desire.

Ins. ProgC

19 - 12

Cubeat

Inputting Notes

If you use the Paint Brush, yon can move the pointer and "paint" in new
notes by dragging. The new notes are created at a spacing corresponding to
the Snap value, and they all get the length of the Quantize value.

New notes always have the pitch C3. You can give the notes one of four
Note On velocity values by holding down keys on the computer keyboard
while drawing or painting in notes.

No key Level 1

[Shift! Level 2

[Control] Level 3

[Shift] + [Control] Level 4

w The Note-Off velocity will always be 64 and the MIDI Channel will be that
of the Part or Track.

You can also create new notes using the Functions menu,
see page 18-15.

Inputting Other Events

For non-note events, it doesn't matter if you use the Brush or the Pencil
since they don't have any length. New events are inserted at the closest Snap
Position, and you can click once to input just one event or drag to input
several events "in one drag".

Each type of event gets some preset default values and the MIDI Channel of
the Part or Track, except for Special events, which have no MIDI Channel.

Cubcat

19-13

(;ri(l Kdit

If In is activated on the Functions Bar when you use the Pencil or
Brush, then all notes in the Part will be moved one Snap forward when
you input new notes, just as with Step Input. See page 18-18.

When you arc finished, press and let go of the right mouse button once, to
bring back the arrow pointer. Or, select another tool from the Toolbox.

dijinaino thp I pnoth of a Nnfp

You can change the length of an existing note using the Pencil icon. Hold
down the right mouse button to bring up the Toolbox. Select the Pencil.

Position the pointer over the note you want to change, and drag to the left
(shorten) or to the right (lengthen). An outline of the note shows the size
while you arc dragging. The Snap function helps you to restrict your
changes to some even note value.

When you arc finished, press and let go of the right mouse button once, to
bring back the arrow pointer. Or, select another tool from the Toolbox.

19 - 14

Cubcal

(irid Edit

Changing Note Velocity

On the right side of the grid the notes' velocities are shown as black horizon¬
tal bars. You can change these values, graphically. When you move the
''w pointer into this area it changes into the pencil automatically.

You can click on one bar and drag to change its height, or you can drag over
as many notes as you like and "paint-change" the velocity values.

Changing other Events Graphically

'-'"The Val2 values are shown as grey horizontal bars for other events than
notes. But not for all types, only for Controllers, Pitch Bend, and Poly-
Pressure. These grey bars can be changed using the Pencil in exactly the
same way as with notes.

Deleting Events

Selected events are deleted just as with Key Edit, see page 18-11.

You can conditionally delete notes using the Functions menu, see page
18-15.

Cubeal

19-15

Crid Edit

Monitoring notes

You can use the Magnifying Glass tool and the Ear button on the Status Bar,
and they work just as in Key Edit.

Remember that the Ear and the Glass apply to notes only!

t he Loop

The L(X)p in Grid Edit works exactly as in Key Edit, see page 18-13.

The Mask

You can decide to Mask Out certain events in Grid Edit. This goes beyond
the Display filters in that Masking really hides events from any type of
editing like Quantizing, Deleting, Fixed Note and so on.

Mask Euent Type |

The only tilings that are not affected by Mask is playback (all events are
always played) and Select All.

Select an event in the list. Let's say that it is a note with the pitch F#4.

• If you pull down the Mask menu and select "Mask It", all events that
are not notes with the pitch F#4 arc hidden.

• If you pull down the Mask and select "Mask Event Type" all events
that arc not notes arc hidden.

In other words: "Mask Event Type" picks out events of one type regardless
of their values, c.g all Controllers, all notes, all Pitch Bend events and so on.

19-16

Cubeal

Grid Edit

"Mask II" also looks at the values. For Notes and Poly Pressure, only events
with the same note number (pitch) will be displayed, and for Controllers,
only events with the same Controller number will be displayed. For other
events "Mask It" and "Mask Event Type" arc identical.

An example: You want to remove all Modulation controller events from a
Part. Select one of the Modulation cvcnis.Usc "Mask It" to hide all events
except just the Modulation controllers. Set the "select" menu to All and use
for example Delete Events on the Edit menu. All Controller values of type 1
(which means just Modulation) will be deleted from the Part. This is a bit
like Logical Edit, but in many cases faster.

Quantize and other Functions

Quantizing and the "select" menu works exactly as in Key Edit, just remem¬
ber:

Quantize only affects notes, and Quantizing and Functions do not affect
Masked notes and other events.

The Pop-Up Functions Menu

This menu also works as in Key Edit except that Fill always puts in C2
notes.

Changes via MIDI and Step
Programming

Again, this works just as Key Edit, except that Grid uses the [T] and [il
computer keys to step through the list.

Cubcal

19-17

(irid Edit

19-18

Cubcal

Ltgical Edit

Logical Edit

Cubeat

Logical Edit

This editor differs from all the others. It allows you to make changes to your
music based on logical or mathematical criteria, rather than musical. There
is nodragging of events, no animated graphics, nothing like that. You enter
numbers and out comes a result (sort of reminds you of computers, doesn't
it'’). To master Logical Edit you need a fair amount of knowledge about how
MIDI messages are built up.

• If you enter Logical Edit from an Arrange window, it operates on the
selected Parts, or, if no Parts arc selected, all Parts on the active
Track.

• If you enter Logical Edit from an Editor, it works on the Parts in that
Editor and uses the setting in the "select" menu in the editor to decide
exactly what events get affected. Just as when using any Function
directly in an Editor.

Before you enter Logical Edit from an Editor, check that the "select"
menu shows the value you wish.

You enter Logical Edit by selecting it on the Edit menu or by pressing
[Controll-IL] on the computer keyboard. What you see is not a window, but
rather a large dialog box that can't be moved or resized. The top row dis¬
plays text giving you a hint about what (Tracks, Parts) will be affected by
the editing.

There is also a Reset button on this row. If you click on it, all settings return
to "normal".

Below this, in the black area you have a number of fields that arc used either
to set numerical values using the left and right mouse button (and [Shift]) as
usual, or that pull down a pop-up menu with a few values that can be
selected.

To the right you have a number of buttons performing the actual edits.
Nothing happens until you click on one of these.

20-2

Cubcal

Logical Edit

Theory

The principle for Logical Edit is this: First you set up Conditions. These are
used to decide which MIDI messages will be affected and which will not.

An example of a specified Condition could be "all notes that have a pilch of
F#3 and a velocity value that is larger than 37”. Conditions can be set up for
all aspects of almost all types of MIDI messages.

After setting up Conditions, you either perform a function like Quantizing or
Deleting on the events that meet the conditions, or you can set up one or
more arithmetic Operations. An example of such an Operation would be to
"add 7 to all the notes' note number", which would be the same as transpo¬
sing them all a perfect fifth.

You can also set dlrtclResults for certain aspects of a MIDI message.

Setting a Velocity Result of 78 would give all notes velocity 78 regardless
of what they were before, or what Operation you set up for velocity. Results
are used for making up fixed values.

Below the three fields for Conditions, Operations and Results are two more
fields. Dynamic and Bar Range. Dynamic is used lo make values "ramp"
from one number to another, and Bar range is a graphical aid for the Bar
Range Condition.

To the right of all this are a number of buttons actually performing the
editing of the MIDI data. Most of them, like Quantize and Delete, only need
the Conditions to perform their trick. Bui Transform and Insert also use the
Operation and Result sellings.

Cubeat

20-3

Logical Edit

Setting up Conditions

When you first enter Logical Edit, the Conditions are automatically set
up with the values of the selected event.

There are six columns in the Condition area of the dialog box. The first is
called Event and is separated from the others. The upper field of this pulls
down a pop-up menu used for deciding what types of events should be
affected. The lower field pulls down a menu with the possibilities All, Equal
or Unequal. If this is set to All, the upper field is grey indicating that all
types of events will be affected. Selecting Equal allows you to direct the
editing to just one type of event (like to notes only) and selecting Unequal
directs editing to all types but the one selected (like to everything but
Program Change).

For the next five columns, the lop row of fields arc probably all set to All
when you first enter Logical Edit. These arc Pop-up menus used to set the
Logical Condition used with the Value fields just below each one. Both
values arc not used at all limes, and non-used values arc dimmed (grey).
Here is an explanation of these menu's possibilities:

All

All Events in the columns arc affected regardless of the set values, so both
values arc dimmed.

Equal

Events that have a value equal to the set value arc affected. This means that
only one value is used, the lower field is therefore dimmed.

Unequal

Events that have a value that is not equal to the set value arc affected. This
also means that only one value is used, and the lower field is dimmed.

Higher

Events that have a value that is higher {not "equal to or higher") than the set
value arc affected. Only uses lop field.

20-4

Cubeal

Logical Edit

Lower

Events that have a value that is lower (not "equal to (X lower") than the set
value are affected. Only uses top field. |

Inside

Events that have a value that falls inside the range formed by the two values
are affected. You therefore need to set both fields.

Outside

Events that have a value that falls outside the range formed by the two
values are affected. Uses both fields. t

The five following columns are named Value 1 and 2, Channel, Length and
Bar Range. Here is an explanation of each one.

Value 1

This is the same as Vail in the Grid Editor. The exact meaning of this value
is different for each event type:

Notes

The Pitch or note number. The value 1 fields show the pitch with small
letters to the right of the number(like F#3, C2 and so on).

Poly Pressure

The key that was pressed, also easily found by looking at the small letters
showing the pitch.

Control Change

The type of Controller, displayed as a number.

Program Change

The number of the Program. Many MIDI units do not display the actual
Program Change number on the front panel.

After Touch

Simply the amount of pressure.

Cubeal

20-5

Logical Edit

Pitch Bend

The "fine tune” of the bend.

Value 2

This is the same as Val2 in the Grid Editor. Here is a list of the meaning of
this for each type of event:

Notes

The velocity of the^note.

Poly Pressure

The amount of pressure for the note

Control Change

The amount of Control Change.

Program Change

Program Change messages don’t have a Value 2.

After Touch

After Touch messages don't have a Value 2.

Pitch Bend

The coarse amount of bend.

Channel

This is the MIDI Channel stored with the Event, not the one set for the Part.

Length

Only notes have any length. This value is displayed in ticks.

Bar Range

These are values used for pinpointing events at a certain position within
each Bar. You can use the mouse to set the beat and tick value independent¬
ly. Or, you can drag a range in the Bar Range graphic at the lower part of the
whole dialog box. ?his is done in the same way as when you drag to set the
Loop range in Key, Drum or Grid Edit

20-6

Cubeal

Logical Edit

A setting like this:

would include: notes only, that have a pitch of C3, a velocity value
between 23 and 85, that are not on MIDI Channel 3 and would include them
regardless of their Length and position within each Bar.

Setting Up Operations

If you decide to Transform the events or Insert new events (see page 20-10
and 11) you must decide if the events that meet the Conditions should be
recalculated in any way. This is done setting an Operator and a Value for
each column. The Operators are found on pop-up menus to the right of the
word Operator. The Value is displayed below each operator, and is set using
the left and right mouse button as usual. You may also use a Variable to
"move values" between columns.

The columns are the same (Value 1, Value 2 and so on) as for the Condi¬
tions except for the last one which is called Position. This means that the
operation will affect the events' position values so that you are able to move
events and create events at new positions. The integer (the number to the left
of the decimal point) represents ticks (48 means 16th notes; refer to the list
on page 4-2).

These are the Possible Operators:

No-Op

The value is not affected in any way.

Plus

A number is added to the existing.

Minus

A number is subtracted from the existing.

Cubeal

20-7

Logical Edit

Mul

The existing value is multiplied by a number.

Div

The existing value is divided by a number.

The row of fields below the Operators are the Values. They can be set to
integers and two decimals, but the result from the operation is of course
rounded to integers. The range of the values differ depending on the column.

If you want the outcome of the Operation to have any effect, you must
set the Re.sult field to *** (off) for the column, since the direct Result
settings override (take over) the result of the Operations.

This operation:

... would transpose all the notes that meet the conditions one octave up and
compress their velocity values to 75% of the original.

Variable

The two "=> fl" and "=> B" fields are the Variables. "A" can be dragged to
the Value 1 field and "B" to the Value 2 field in the Result area.

If you, for example, drag "=> fl" to the Value 2 Result field, you are
"patching" the result from the operation in the Value 1 column to the Value
2 result. If we talked about notes, this would mean that the result from the
note value (pitch) operations would be used for velocity.

20-8

Cubcal

Logical Edit

Results

The Result field is used to set a direct, fixed value for theVesult. The
possibilities vary a bit with the column. Channel for example can of course
only be set to values between 1 and 16.

The leftmost field is called Event This is a pop-up menu used for transfor¬
ming events into any other type of events, without affecting the values
(Vail, Val2 and so on). Select the type of Event you want as a result

Setting any of the fields to *** (off) means that the Operation settings
are used instead, and if Operations for the column Is set to No-Op, then
the values aren’t changed at all for that column.

This setting:

... would turn events that meet the Conditions into notes. It would leave their
first value (the pitch) as it is (or as it will become after the Operation and set
them all to velocity 73.

Dyn

Below Result you have a few fields used fw setting up changes that result in
a "ramp" from one value to an other, like for example a crescendo or a
diminuendo. This function involves three things, the Dyn file, the Start and
End Value and the Start and End Point.

The Start and End points can’t be changed from inside Logical Edit. If you
entered Logical Edit from the Arrange window, they will be the start and
end of the Part. If you entered it from one of the Editors they will be one of
three things: the start and end of the Part, the left and right Locator values,
or the Loop boundaries, all depending on how the "select" menu was set in
the Editor.

Cubeat

20-9

Logical Edit

To decide what should change (velocity, note number. Controller value or
whatever) you drag the field DYN to the Value 1 or Value 2 fields in the
Result row. Use the two value fields below to set the Start and End value
(displayed both as numbers, for non-note events, and as notes).

Performing the Edits

Once you have set fhe right Conditions—and in some cases Operations and
Results—you can perfoim the actual edit, by clicking on the buttons to the
right. You can make as many edits as you wish without leaving Logical
Edit These are the possibilities:

Quantize

The notes that meet the Conditions are Over-Quantized to the Quantize
value set with the Pop-up menu just above the button.

Extract

This Function is only active if you selected Logical Edit from the Arrange
window. It cuts the events that meet the Conditions out of the Part, and then
creates new Part(s) with the extracted events only. These new Part(s) are put
on a new Track and have the same start and end points as the original(s).

Copy

This Function is only active if you selected Logical Edit from the Arrange
window. It works just as Extract, only it doesn't cut the events from the
Part(s), it copies them.

Delete

The notes that meet the Conditions simply get deleted.

Select

This Function is only active if you selected Logical Edit from one of the
other Edit windows: Key, Drum or Grid. It selects the events that meet the
Conditions for future processing directly in the editor, after you have exited
Logical Edit. 4

20-10

Cubeal

Logical Edit

T ransf orm

The notes that meet the Conditions have their values Transformed (i.e.
changed) according to the values set in Operations and Results. This doesn't
add any new events, it just changes the existing ones. If you set up an
Operation on the Position value, this is the same as moving the events.

Insert

The events that meet the Conditions get copied, transformed (see above) and
then inserted a.mong the existing events. This adds new events to the Part(s).
If you for example add to the Position value, this will result in some sort of
echo effect.

Undo

This function is only active if you selected Logical Edit from one of the
other Edit windows. It undoes the last function only.

Exit

If you click on this button or press [Return] on the computer keyboard,
logical Edit closes.

Cubcat

20-11

Logical Edit

Examples

Lcl us give a fev examples of the power of Logical Edit. All sellings nol
included should be as follows:

Conditions: All

Operations: No-Op, values nol imporlanl.

Result: ***

Dynamic and Bar Range: Nol Imporlanl.

E.xample 1

CONDITION

EVENT

Rfter Touch

OPERATION

VALUE 1

Mul

0.75

RESULT

EVENT VALUE 1 VALUE 2

Control 1 =>fl

This selling would allow you lo change all Aflcr Touch Events inlo Modula
lion wheel events while at the same time scaling the value. This is useful if
you have an older synlh that may nol receive Aflcr Touch. The figure in ihc
box below "Mul" is used to set the scaling factor. In this example il will
become 75% of the original value. Click Transform lo perform the Transfor
malion.

20- 12

Cubcal

Logical Edit

Lxample 2

CONDITION

EVENT

Note

VALUE 1

Equal

37 C3

bar range

Inside

3.144

4.48

OPERATION

VALUE 1

Plus

24.00

RESULT

EVENT
* * *

VALUE 1
* * *

Lei's say lhal you have a snare drum playing on ihe key C#l. This selling
will allow you lo pinpoinl all snare drum beals lhal lie around ihe fourlh
quarier in each bar and iranspose ihem up iwo ociaves lo C#3. This is useful
if you warn lo double up ihe second snare drum in each bar in a basic rock
beal wiih some olher sound. Since ihis example uses Copy, il assumes lhal
you eniered Logical Edil from an Arrange window. Click on Copy lo make
up a Pan wiih ihe copied and iransposed beals only.

Example 3

CONDITION

EVENT

Note

RESULT

EVENT VALUE 1

*** 60 C3

This selling allows you lo make up a bass drum part lhal exaclly follows for
example a bass pari on ihe selecied Track. The value in ihe Resull-Value 1
field is Ihe key you have ihe bass drum on. Since ihis example also uses

Cubeal

20-13

Logical Edit

Copy, it assumes that you entered Logical Edit from an Arrange window.
Click Copy to create the new bass drum part.

E.xample 4

CONDITION

EVENT

Note

RESULT

EVENT

VALUE 2

DVN

DVNRMIC

START

END

105 93.1.0

0 97

This setting creates a fade out by adjusting the velocity values during bar 93
to 97 from a "normal" velocity value of 105 to 0. Click Transform to change
the Part.

Cubcat

The Window menu

Cubeai

The Window menu

Tile Windows

This command resizes and aligns all open windows, whether they are
Editors or Arrange windows.

One option is to use this command and then dick in the Full box of the
window you want to use at the moment. This blows up that window, to full
size. Jfyou click again in the Full box (without resizing the window in
between) it goes back to the tiled size. This can be a quick and handy way of
switching between windows.

Tile Editors

This command resizes and aligns all open Editor windows. See Tile Win¬
dows above.

Arrange Window List

Below Tile Windows and Tile Editors you will find a list of all open
Arrange windows, plus those that have been closed with the Keep option
(see page 23-8). When you select a window from this menu it will be made
active (put in front of the other windows).

You can have up to 16 Arrangements "hanging" on this menu, but only
seven windows (including editors) open at the same time on the screen.

21-2

Cubcat

The Desk Menu

Cubeal

The Desk Menu

This is the regular Atari menu. The first item brings up a dialog box where
you can see how much memory you have available. Press [Return] or click
on the box to make it go away.

Below this first menu item you find the Accessories you have installed.
Refer to the computer's Operation Manual for more infonnation about
Accessories.

Cubcat

The File menu

Cubcai

The File menu

All File Operations can be done while the m usic is playing! This for
example allows you to load one Arrangement while another is playing
back.

Remember to save your work as often as possible, preferably on a
separate disk, not the program disk. Saving of the current Song can be
done automatically using the Autosave function, see page 23-9.

Saving to disk is pjermanent and can't be undone.

Cubeat is completely file compatible with Cubase for the Atari ST and
the Apple Macintosh.

Def.Arr, Def.Set, Def.Drm and Def.AII

When you first start Cubeat it looks on the disk for "Def files. If it finds
any or all of them, they are automatically loaded. This allows you to confi¬
gure all or some settings beforehand so that Cubeat always comes up with
settings that suit you.

You can at any time save your own "Def." files. Just save a whole Song, or
an Arrangement, a Setup or a Drum Map under the name DEF. And you can
of course have several startup disks with different sets of "Def." files for
different jobs.

Def.Arr

This allows you to define everything that comes with the Arrangement, the
Tracks and their MIDI Channels and Outputs and so on. It even allows you
to save music (Parts) to be loaded at startup. If you are working on a piece
of music in an Arrange window over several working passes it might be a
good idea to save it as DEF.ARR.

Def .Set

This includes a complete Setup as listed on page 23-7.

Def. Drm

This automatically loads a Drum Map with all settings for all columns.

23-2

Cubeal

The File menu

Def.AII

This automatically loads a complete Song consisting of one or several
Arrange windows, a Setup and a Drum Map. |

New

Selecting this item or pressing [Control]-[N] on the computer keyboard gives
you a New Arrange window. This is given the name Untitled followed by a
number. The name changes when you Save the first tjme. The maximum
number of open windows, (both Arrange and Edit) at any time, is seven.

Open

This item brings up a small dialog box where you select what type of file
you want to open. You can reach this dialog box by pressing [Control]-[0]
on the computer keyboard also. A dialog box appears where you select
which type of file to open. Click on the type or press [1] to to [7] to select a
file type, from Song (1) to Setup (7).

The File dialog box that appears is standard Atari ST.

Song

This option opens up a complete Song, which consists of a number of
Arrange windows with their Groups, a Setup and a Drum Map. Songs have
the suffix "ALL".

Arrange i

This opens up one arrange window complete with:

The contents of the window, including Groups that were created from
Parts in that window.

o The tempo setting on the Transport bar.

o The Master switch setting,

o The Solo switch setting,

o The SMPTE Offset.

Arrange windows have the suffix "ARR".

Cubcat

23-3

The File menu

If you hold down [Alternate] while clicking on "Load Arrangement" the
arrangement is loaded into the background (into an inactive window)
without interrupting the existing music. This makes it easy to load new
music, in eg a live situation.

Part

This loads a Part file which may contain one or more Parts. The Parts are
put into the current Arrangement with the first Part starting at the position of
the Left Locator. The following Parts keep their relative position (compared
to the first Part) as it was when they were saved.

The Parts are loaded into the same Tracks as they originally were on. If not
enough Tracks exist, new Tracks are created as needed. Part files have the
suffix "PRT".

24 Song

This loads a S teinberg Pro-24 Song into a new Arrange window. The
conversion between the old format and the new may take some time. Most
of the information from the Pro-24 Song is kept, but a few things can not be
transferred to Cubeat format from Pro-24:

□ Fixed Velocity values and Quantize values set in the Track Inlo box.

□ Midi Mode/Note Off settings.

□ Multi Out SMP-24 Assignments.

□ MIDI E>efinition settings.

□ Cue points fgr SMP-24/TimeLock.

□ The 10 preprogrammed Mute settings (Alt+Fl to FIO).

□ Text Input.

If a Pro-24 Song was stored in Mode SEQ, Cubeat tries to recreate the Pro-
24 Arrangement using a Group Track. All Tracks that played in Sequence
Mode are muted.

If you want a Pro-24 Song loaded into Cubeat to synchronize to "old"

24 tapes you have to convert the Master Track so that the tempi are
adjusted. See pageil6-24.

23-4

Cubeat

The File menu

MIDI File

MIDI files are a pan of the MIDI standard used for transferring files bet¬
ween two sequencer programs. Direct transfer using one ^isk only works if
the files are written and read by the same computer. Otherwise you have to
transfer the files to the second computer using modems or similar.

Cubeat reads standard MIDI files in formats 0 and 1. Files saved in format 0
are loaded into Track 1. Files stored in format 1 are load into as many
Tracks as is necessary starting at Track 1. New Tracks are created if needed.
MIDI Files have the suffix "MID".

The only non-MIDI events that are recognized are Track names. Tempi and
Time Signatures. '

When you select Open MIDI File a dialog box asks you if you want to
merge the music on disk with the current Arrangement.

□ If you answer No, a new Arrangement is created, and the file is
loaded starting at 1.1.0.

□ If you answer Yes, the file is loaded into the current Arrangement,
starting at the Left Locator Position. This allows you to load more
music into the current Arrangement while the music is playing.

Drum Map

This loads a Drum Map from disk. It replaces the current Drum Map. Drum
Maps have the suffix "DRM". Drum Maps don't have to be loaded from
within the Drum Editor.

Set Dp

This loads a Setup from Disk. What is contained in a Setiip is described on
page 23-7. Setups have the suffix "SET".

Cubeat

23-5

The File menu

Save

Save your work as often as possible. Saving to disk is permanent and
can't be undone. Saving of the Song can be done automatically using the
Autosave function, see page 23-9.

This item brings up a small dialog box where you select what type of file
you want to save. You can reach this dialog box by pressing [Control]-[S]
on the computer keyboard. Click on the file type or press [ 1 ] to [7] as with
Open.

You can't save in 24 Song format at all, and from an editor you can only
save Drum Maps and Setups.

Song

This saves the whole Song, which means all Arrange windows, their Groups,
the Drum Map and the Setup.

Arrange

This saves the active Arrange window. The windows title changes to the file
name used when saving. With the Arrange window, all settings are saved
that are not part of the Setup (see next page), plus all Groups that consist of
Parts from that Arrange window. This for example means that the settings
for all Parts, and the Master Track is saved with the Arrangement.

Part

If one or several Parts are selected, these are all saved in one file, with their
internal relative sta(t positions kept. If no Parts are selected, then all Parts on
the selected Track are saved.

Ghost Parts are saved as Real Parts. Group Parts are not saved.

MIDI File

Cubeat saves MIDI files in format 1. Due to the way MIDI files are defined,
all Parts on each Track have to be joined together into one long "Part".

Muted Tracks are npt saved. The only non-MIDI events that are saved are
the time signatures and tempi on the Master Track and the Track names
(names are saved as text).

23-6

Cubeat

The File menu

Drum Map

This saves the current Drum Map, which means all the Sounds and all
settings for each one of them. I

Set Up

This saves a number of settings in the Program so that you can configure
everything to your own lilting. This is what is saved:

Arrange Window and Menus

□ All the Instruments

□ The tempo setting. ^

□ Locator-Positions.

□ All the On/Off buttons on the Transport bar. t

□ Follow Song On/Off. ’

□ Chase Events On/Off.

□ Reset on Stop

□ All settings in the Part Appearance dialog box.

□ All settings in the Metronome dialog box.

□ All settings in the Synchronization Dialog box.

□ Multi Record Mode.

□ Record Inputs.

□ All Cycle-Modes (for the four "Players”).

□ Tempo Recording On/Off.

□ All Human Sync parameters.

□ All settings in the Midi Definition dialog box.

□ The settings in the Preferences dialog box.

Separate for each Editor

□ Last Tool used.

□ The Last chosen Controller in the Control Display.

□ The User defined Controllers 1 and 2 and the last cihosen Unknown
Controller in the Control Display.

□ Everything on the Functions bar.

□ Window size and position.

□ Magnification.

□ The position of all dividing lines.

□ The Display Filter setting (Grid Edit).

□ The event type selected for insertion (Grid Edit).

Cubeai

23-7

The File menu

If you select Close when an Arrange window is active you have the option
to Keep it, which means that the window closes, but the Arrangement is still
there and can be reopened from the Windows menu.

Keeping does not mean that the Arrangement is saved to disk.

If you select Discard, the Arrangement is closed and erased from memory. It
can't be opened again (if you didn’t save it to disk first, of course).

Cancel aborts the whole operation.

If you select Close from an Editor this is the same as clicking Keep.

Delete Files

This is a utility for deleting files on disk. It brings up a standard Atari ST
dialog box where you can select the file to be deleted. The program then
asks for a verification that you really want the file removed completely from
the disk.

Deleted files can not be retrieved.

Format Disk

This allows you to format disks without leaving Cubeat. A dialog box asks
you if you have a single or double sided disk and if it is in drive A or B (if
you have two drives, otherwise select A).

When you have clicked the right combination, click on "Start Format" to
format the disk or click on Cancel ([Return] on the computer keyboard) if
you change your mind.

Formatting a disk erases it completely!

23-8

Cubeat

The File menu

Preferences

This item opens up a dialog box where you can select a number of options:
Autosave

If you click the button on the left side, so that it is set to On, the Song is
saved automatically at a time interval set with the value field to the right.
The Song is saved under the name "Backup.AII".

Mouse Speeder

This function is what is often called a Mouse Accelerator which makes the
mouse move more when you move it faster. Threshold is the lowest speed at
which this function is to be activated, and Speed is the amount of "accelera¬
tion". Use the button on the left to turn the function On and Off.

Increase values with...

Most Atari programs use the right mouse button to increase values in values
fields but some use the left. This option allows you to select the one you feel
most comfortable with.

Quit

This allows you to quit the program gracefully. Its keyboard command is
[Control]-[Q]. A dialog box will allow you to save before quitting.

Cubeat

23-9

The File menu

23-10

Cubeal

Keyboard Commands

Keyboard Cominands

Cubeal

Keyboard Commands

The following is a list of the computer keyboard equivalents for many of
Cubeat’s functions.

Numeric Keypad

Transport Functions

[*]

Activate recording

[Enter]

Start/Continuc

[0] or [Spacebar]

1st time - Stop

2nd time -

Go to Left Locator/Go to 1.1. 0

3rd time-Goto 1.1.0

[(]

Rewind

[)]

Fast Forward

[1]

Go to Left Locator

[2]

Go to Right Locator

[Shift] + [1]

Store Song Position as Left Locator

[Shift] + [21

Store Song Position as Right Locator

[3] to [8]

Go to Cue Point 1 to 7

[Shift] + [3] to [8]

Store Song Position as Cue Point 1 to 7

[9]

Go to last Stop Position

[+]

Increase Tempo

[-]

Reduce Tempo

[/]

Cycle On/Off

Typewriter Keyboard

All windows

[Control]-[O]
[Conirol]-[S]
[Control]-[W]
[Control]-[Q]

Open (Use [1] to [7] to select file type)
Save (Use [1] to [7] to select file type)
Close active window
Quit

24-2

Cubcal

Keyboard Commands

[Undo]

[Comrol]-[X]

[Control]-[C]

[Control]-[V]

[Delete]

[Backspace]

[Control]-[A]

(Control]-[G]

[Control]-[D]

[Control]-[E]

(Control]-(L]

[Control]-(B]

Undo

Cut

Copy 1

Paste

Delete Selection

Select All

Grid Edit

Drum Edit

Key Edit

Logical Edit ^

Notepad

[Q]

[U]

[W]

[E]

[Control]-[F]

[Control]-[H]

Over-Quantizc

Undo Quantize

Note On Q

Iterative Q

Delete ConL Data

Delete Doubles

[F]

[Y]

Follow Song On/Off

Remote On/Off

[FI] to [FIO)

[Shift] + [FI] to [FIO]
(Altcmatc]+[F11 to [FIO]
[Altemate)+[Shift)4-[Fl) to [FIO]

Recall Locator settings

Store Locator Settings

Recall Mute Settings

Store Mute Settings

[P]

[L]

[R]

[Altemate)-(P]

Set Position

Set Left Locator

Set Right Lockor

Set L and R Locator
to Parts' Start & End

[D]

[I]

[0]

[C]

[M]

[S]

Cubeat

Overdub/Alternate Record Mode
Punch In On/Off

Punch Out On/Off

Click On/Off

Master Track On/Off

Solo On/Off

24-3

Keyboard Commands

[A]

Ed Solo On/Off

[X]

Sync On/Off

[l]-[7]

Quantize value

[T]

Set Quantize value to triplets

[.]

Set Quantize value to dotted

[Altemate]-[J]

Change Instrument name

[V]

Delete last version

[B] '

Delete SubTrack

[N]

Quantize last version

[K]

Key Erase

[#]

Sub Track in Multi Record mode

[Return]

Exit (in Dialog Boxes)

[Esc]

Cancel (in Dialog Boxes)

Arrange window

[Conirol]-[N]

New Arrange window

[Conirol]-[I]
[Control]-[M]

Part Info

Display Master Track

[Control]-[T]

[ControI]-[P]

[ControI]-[K]

[Control]-[J]

[Control]-[Y]

[Control]-[U]

New Track
Create Part
Repeat

Show/Hide Groups
Create Group Track
Parts to Group

[->]

[^]

[T]

[i]

Select Next Part
Select Previous Part
Go one Track up
Go one Track down

The four arrows can-be used in combination with the [Shift] key to select
several Parts on a Tfack.

24-4

Cubcat

Keyboard Commands

Key, Grid and Drum Edit only

[Return]

[Esc]

Keep t

Cancel

[Insert]

[Tab]

[Alternate]-[0]

[ Alternate]-[L]
[Altemate]-[R]
[Altemate]-[I]
[AItemate]-[C]

Insert Event

Move one Snap during Step Input
Loop On/Off

Input Left Loop boundary

Input Right Loop boundary

Info OnADff ’

Ctrl On/Off

[^]

[ti

[ii

Next Note in Key Edit

Previous Note in Key Edit

Previous Event in Grid Edit

Next event in Grid Edit

[->)

[^1

[T]

[J-]

[Altemate]-[N]

Next Note in Drum Edit

Previous Note in DrumEdit

Previous Sound in Drum Edit

Next Sound in Drum Edit

Rename Sound in Drum Edit

The arrows can be used in combination with the [Shift] key to select several
notes/events.

Cubeai

24-5

Keyboard Commands

24-6

Cubeat

Index

Cubeat

Index

Active Pan

Grid Edit

19-5

Key Edit

18-5

Active Track

5-4

Active window

4-8

Activity Display

5-5

After Touch

6-7; 19-9

All

23-3

Def

23-2

All Notes Off

16-4

Analytic Quantize

12-6

Arr

23-3

Def

23-2

Arrange Window File Handling

23-3; 23-6

19-7

Auto Quantize

12-4; 16-11

Auto Save

23-9

Backup

1-2

Bar Range

20-6

Beep

16-18

Build Group

13-8

Cancel

17-3

In a window

4-7

Channel

20-6

Channel Filter

16-14

Channel Pressure

16-3

Channel Split

16-6; 16-8

Chase Events

16-2

Chase Sync

16-21

Chn

5-6

Chord display

18-12

Clear Tempo

15-4

Click

'^-2; 16-18

25-2

Cubcai

Index

Clipboard

Arrange window

9-11

General

11-4

Editors

17-6

4-7; 23-8

Color monitors

1-2

Comment

19-8

Compasses

18-24; 18-29

Compression

9-20

Computer keyboard

24-2

Conditions

20-3; 20-4

Control Filter

16-13

Controller Display

18-20

Controller Map

16-14

Controllers

6-7

Copy Range

13-3

Copy Section in Master Track

15-4

Copy

Arrange window

9-11

Editors

17-6

General

11-4

Logical Edit

20-10

Create Part

13-5

Create Track

5-4; 13-2

Creating New Events in Grid Edit

19-12

Creating New Notes in Key Edit

18-9

19-7

Cue Points

7-6

Cueing

7-7

Cut Notes

13-6

Cut

Arrange window

9-11

Editors

17-6

General

11-3

Cycle

Button

10-2

Playback

10-2

Recording

10-3

Cycled Recording Functions

10-5

Cubcal

25-3

Index

Cycled Recording Mode

16-9; 10-4

Damper pedal

16-3

Def.Arr, Set and Song

23-2

Delay

9-19

Delete Coni. Data

12-11

Delete Doubles

12-11

Delete

Grid Edit

19-15

Key Edit

18-17

General

11-4

Logical Edit

20-10

Deleting Events in Grid Edit

19-15

Delete Events in Master Track

15-4

Delete Files

23-8

Delete Last Version

10-6; 16-10

Delete Notes

Grid Edit

19-15

Key Edit

18-16; 18-11

Delete Parts

9-10

Delete SubTrack

10-5; 16-10

Desk

22-2

Devices

16-30

Dialog boxes

4-8

Disk

1-2

Display Fillers

19-7

Display Offset

16-23

Don't Q

12-5

Drivers

2-2

Dubbing

9-22

Duplicating Events

Grid Edit

19-12

Duplicating Notes

Key Edit

18-9

Duplicating Tracks

5-5

Dyn

20-9

25-4

Cubcal

Index

Ear

Grid Edit

19-16

Key Edit

18-12

Ed Solo

17-5

Edit Quantize

12-5

Editing Velocity Graphically

Key Edit

18-23

Grid Edit

19-15

Editors

Selecting one

17-2

Selecting several

17-2

Similarities and Differences

17-5

Eraser

Arrange window

9-10

Controller Editing

18-29

Events

4-9

Extract

20-10

Fast Forward

7-7

File

23-1

Fill

Grid Edit

19-17

Key Edit

18-17

Filter

Channels

16-14

Controllers

16-13

Record

16-12

Thru

16-13

Fixed Length

12-10

Fixed Note

Grid Edit

19-17

Key Edit

18-16

Follow Song

16-3

Format Disk

23-8

Frames

16-23

Freeze Quantize

12-9

Cubcal

25-5

Index

Full Box

4-7

Function keys

Locators

7-10

With Mutes

14-3

Functions Bar

Grid Edit

19-4

Key Edit

18-3

Functions

Arrange window

12-9

Grid Edit

19-17

Key Edit

18-14; 18-16

(;

Ghost Parts

17-4; 9-22; 13-5

Global Cut

13-2

Global Insert

13-2

Global Split

13-3

Goto Menu

Grid Edit

19-7

Key Edit

18-6

Grid Edit

19-3

Group List

13-9

G roup Part

13-11

Unpacking Of

13-13

Group Tracks

13-11

Group Transpose

13-13

Groups

13-7

Add Parts

13-9

Deleting from the list

13-10

Introduction to

4-3

New

13-8

Rename

13-10

Replace

13-9

Trigger

13-13

Hide Tempo

15-3

Hide Time Signature

15-3

Hide/Show Groups

13-9

25-6

Cubcai

Index

Human Sync

16-25; 16-22

In Button

Grid Edit

19-17

Key Edit

18-19

Inactive Part

Grid Edit

19-5

Key Edit

18-5

Info Line

Key Edit

18-3; 18-7

Input

16-5

Input Split

16-7; 16-9

Ins.

19-12

Insert Key

Grid Edit

19-17

Key Edit

18-19

Insert in Logical Edit

20-11

Instr.

9-18

Instrument

5-7;9-3

Internal

SMPTE Sync

16-20

Tempo Sync

16-21

Iterative Quantize

12-5

Keep

4-7; 17-3

Keep Note

Grid Edit

19-17

Key Edit

18-16

Key

1-2; 2-6

Key Edit

18-3

Key Erase

10-5; 16-10

Keyboard Commands

24-1

Kickers

Grid Edit

19-11

Key Edit

18-9

Cubeal

25-7

Index

Layer Mode

16-7

Left Locator

7-8

Length size

12-10

Local Off

16-16

Locators

And Cycle

10-1

Preprogramming

7-10

Loop

Grid Edit

19-16

Key Edit

18-13

Magnification

4-8

Magnifying Glass

Grid Edit

19-16

Key Edit

18-12

Mask

19-16

Master

7-2; 15-2; 16-5

Master Track

15-2; 16-4

Match Quantize

12-7

Memory available

22-2

Merge

16-6

Parts

9-9

Multi Recording

16-8

Metronome

16-18

Mid

23-5

MIDI Changes

Grid Edit

19-17

Key Edit

18-18

MIDI Channel

9-4

Parts output

9-2

MIDI Click

16-18

MIDI Clock

16-21

Output

16-22

Sync to

16-22

MIDI Definition

16-12

MIDI File

23-5; 23-6

MIDI Thru

1-3; 16-15

25-8

Cubcal

Index

MIDI Time Code
MIDI Volume
Mix

Mix Down
Monitor
Mouse box

Arrange window
Grid Edit
Key Edit
Mouse Speeder
Moving Events
Grid Edit
Moving Notes
Key Edit
M-ROS

Track Output
Multi Recording
Mute Events
Mute Track
Muted Tracks

Preprogramming
With Copy Range
With Global Cut
With Global Insert
With Groups
Mute Part

Naming

New

Normal
Note Off
Note On

Note On Quantize
Note Pad

Notes Change Length
Grid Edit
Key Edit

16-22

9- 21; 16-3

10- 4

13- 4

1-2; 2-2; 4-2

9-8; 7-9
19-4

18- 4
23-9

19- 11
18-8

4- 2; 16-5; 16-21

5- 6
16-6
19-10

14- 2

14-3

13-3

13-2

13-3

13-12

9-12

4-6

23-3

9- 4; 13-3; 13-4; 19-8

10- 4
6-7
6-7
12-5

11- 5

19-14

18-9; 18-11

Cubcal

25-9

Index

Notes

Lengths

13-6

Numeric Keypad

24-2

Open

23-3

Operations

20-3; 20-7

Output9-19

For a Track

5-6

Over Quantize

12-4

Overdub

6-6

using Merge

9-9

Paint Brush

Grid Edit

19-13

Key Edit

18-9

Part Appearance

16-11

Part Display

5-9

Part Info

9-16

Part

Description

9-2

File Handling

23-4; 23-6

Appending

9-14

Changing Length

9-12

Deleting

9-10

Deselecting

9-5

Direct creation

9-7

Introduction to

4-3

Joining

9-14

MIDI Channel

9-18

MIDI Volume

9-21

Moving

9-8

Muting

9-12

Names

9-17

Notes Lengths

9-20

Output

9-19

Output Filters

9-21

Playback parameters

9-16

25-10

Cabcal

Index

Program Change

9-20

Recording

9-6

Rename

9-15

Scrubbing

9-15

Selecting

9-4

Splitting

9-13

Transpose

9-19

Trigger

9-15

Velocity

9-19

Paste

Arrange window

9-11

General

11-4

Editors

17-6

19-7

Pencil

Controller Editing

18-23; 18-28

Grid Edit

19-15

Key Edit

18-9

Pitch bend

6-7; 16-3

Play

7-3

Player

16-7

Poly Pressure

18-29; 19-8

Pop-Up Functions

Key Edit

18-16

Grid Edit

19-17

Pop-Up Menus

4-9

Position Bar

Arrange Window

5-9

Grid Edit

19-3

Key Edit

18-3

19-7

Precount

16-19

Recording with

6-4

Prerecord

16-19

Prcroll

16-19

Recording with

6-4

Prg Change

9-20

Pro-24

23-4

Cubcat

25-11

Index

Program Change

Prt

Punch

Punch In

Automatic

Manually

Punch Out

Automatic

Manually

6-8; 9-20; 16-3; 19-9
23-4

10-4

8-2

6-3; 6-4

8-3

6-3

Quant

Grid Edit

Key Edit

Quantize

Arrange window
Automatically

Logical Edit

Grid Edit

Key Edit

Undoing

Quantize Last Version

Quit

19- 4

18- 4

12-2

12-4

20- 10

19- 4; 19-17

18-4; 18-14

12-3

10-6; 16-10

23-9

Real Time

Real-time Thru

Record Filter

Recording

Arrange Window

In an Editor

Reduce Cont. Data

Remap Controller

Remix Track

Remote Control

Remote key

Rename Group

Rename Part

4-3

9-23

16-12

6-2

17-4

12-11

16-14

13-3

16-29

13-10

9-15

25-12

Cubcal

Index

Repeal

Grid Edit

19-17

Key Edit

18-17

Pans (Arrange)

13-5

Replace

6-5

Using Merge

9-9

Reset All Controllers

16-4

Reset Devices

16-30

Reset Map

16-14

Reset on Slop

16-3

Results

20-3; 20-9

Reverse

Grid Edit

19-17

Key Edit

18-17

Rewind

7-7

Right Locator

7-8

Running Status

16-15

Save

23-6

Screen drivers

2-2

Select All

General

11-5

Select menu

20-2

Select

Logical Edit

20-10

Selecting Events/Notes

Grid Edit

19-6

Key Edit

18-5

Set

23-5

Dcf

23-2

Set Up

File Handling

23-5; 23-7

Introduction to

4-4

Show Events

16-11

Sizing Box

4-7

Smp

5-7

Sync

16-21

Cubcal

25-13

Index

SMPTE

16-21

Box

7-7

Master Track

15-2

Off set

16-23

Sync to

16-20

SMPTE,

Display

Arrange window

7-4

Key Edit

18-4

Grid Edit

19-4

Snap

Arrange window

9-8

Grid Edit

19-4

Key Edit

18-4

With Locators

7-9

Solo

Arrange Window

14-2

Song Position

7-4

Box

7-5

Triangle

7-4

Key Edit

18-3

Grid Edit

19-3

Song

File Handling

23-3; 23-6

Introduction to

4-4

Special Events

19-10

Split, Global

13-3

Step Programming

Grid Edit

19-17

Key Edit

18-18

Step time

Grid Edit

19-17

Key Edit

18-18

Stop

6-3; 7-3

Stop Events

19-10

Strength

12-5

Sync

7-2

To existing music

16-25; 16-28

25 - 14

Cuhcal

System Exclusive

Recording of

6-8

In Grid Edit

19-9

Tempo

7-2; 15-2

Sync

16-20; 16-22

Tempo Recording

16-4

Text Events

19-10

Thru Filter

16-13

Thru Off Channel

16-16

Thru, Real-time Mod.

9-23

Ticks

4-2

Tile

Editors

21-2

Windows

21-2

Time Lock, Sync to

16-22

Time Signature

7-2; 15-2

Timing resolution

4-2

Title Bar

4-6

Toolbox

4-5

TOS

1-2

Track

5-4

Duplicating

5-5

Selecting

5-4

Switch while recording

6-7

Introduction to

4-3

Names

9-17

Transfonn

20-11

Transpose

Part Parameter

9-18

Arrange window, permanent

12-12

Trigger Group

13-13

Trigger Part

9-15

Twenty Four Song

23-4

Converting Sync

16-23

Cubcal

Index

25-14

Index

Undo

Arrange window

11-2

Edit windows

11-3

General

11-2

Editors

17-7

Logical Edit

20-11

Unknown Control

18-22

1 Inpacking a Group Part

13-13

Val 1 to 3

19-8

Value 1 and 2

20-5

Variable

20-8

Velocity

Part Parameter

9-18

Arrange window, permanent

12-12

Grid Edit

19-15

Volume

9-21

Windows

Editors

17-3

General

4-6

List

21-2

Write SMPTE

16-23

Zoom

4-8

25-16

Cubeal

M*ROS Switcher

Cubeat

M*R()S Switcher

Introduction

One of the big advantages of M*ROS is that several programs can be run
simultaneously on the same computer. This allows you to playback sequen¬
ced material at the same time as an automation program is controlling your
mixer while you are editing sounds on your synthesizers, and much more.

The M*ROS Switcher is a program which lets you launch (start) up to ten
programs at the same time, and switch between them. Note the following:

• You have to have at least 2 MegaByte of RAM in your computer to
be able to run two programs simultaneously. But there is a Switcher
application for a single program running on a 1040 ST, see page 9.

• If you run two M*ROS programs together, they can share data and
run in Sync. But you can also run non-M»ROS programs together
with each other and with M*ROS programs, no matter whether they
arc MIDI-programs or not.

• You must begin by starting and configuring the Switcher. You must
have a version of M.ROS (a file called MROS2_xx, where xx is a
version number) in the M.ROS folder on the disk.

• Any drivers you intend to use must also be located in the M.ROS
folder.

• Once you have started the Switcher, you don't need any more version
of M*ROS or the Device Drivers on the disk(s). M*ROS and the
Drivers arc loaded automatically when you start the Switcher, and the
other programs then use the loaded version.

Ciibcal

M*R()S Sw it^her

Starting The Switcher

Just double click on the Switcher program icon to start the program. This
gives you a screen with ten smaller boxes, one for each program you can
launch (start). These boxes each correspond to one of the ten Function keys
([FI] to [FIO]) on the computer keyboard. This is also shown on the left side
of each box. The name assigned to that Function key is displayed in the
middle.

On the bottom of the screen is a field telling how much overall RAM-
memory you have left at the moment.

13 K

tiaxinun Size

Configuring

By clicking on one (in fact any one) of the upward pointing arrows you open
a dialog box which allows you to set a number of parameters for each
program. Use the left and right mouse button or the [<—] and [—>] keys on
the computer keyboard to change the values. If you hold down [Shift] the
values change in larger steps.

You may set up the Switcher beforehand for as many programs as you
like (up to 10), which probably means a lot more programs than you
have memory (RAM) for. It is only for the launched (started) programs
that internal memory is a limit.

Cubcai

M*ROS Switcher

Function Key

This isn’t a value, but rather a field used to select which Function key you
want to change the parameters for. This allows you to configure all pro¬
grams, without closing the dialog box in between.

Program

One Program can be assigned to each Function key. Double click in the
name field and a standard ST File box appears. Select a Program on the
disk.

This does not start the program, it only assigns it to a Function key.
Size

Below the name field is a memory assignment field. Use this to set the
amount of RAM that the program is allowed to use. The total amount of
memory for all launched programs can of course only add up to the internal
memory of the computer. Remember that we are talking about RAM
(internal) memory, not disk space.

Cubcai

M*R()S Switcher

Click on the left and right arrows in the field to set the amount of RAM. If
you hold down the [Shift] key on the computer keyboard, the value changes
in steps of ten.

Most programs will need at least one MegaByte of RAM to run properly.
Check each program's operation manual. The less memory you assign to for
example a sequencer program, the less notes you will be able to record.

Each program needs;

• System memory, which is mainly Accessories and memory caches
for hard disks. This is not shared by the programs, each one has to
have memory set aside for this. This means that you should minimize
the use of Accessories unless you have vast amounts of memory left.

• Screen memory, 32 KiloByte.

• The memory that the program itself needs.

MIDI

As stated in the beginning of this text, M*ROS makes it possible for pro¬
grams to co-exist and run simultaneously, whether they actually are M*ROS
programs themselves or not. But you must give M'ROS a clue as to which
type the selected program is.

• M'ROS programs should of course be set to MROS.

• Most other programs should be set to Standard.

• Programs that bypass the standard Atari routines for accessing the
MIDI ports should be set to Internal. These programs are probably
real-time MIDI-programs like sequencers.

Input and Output

If the MIDI parameter (see above) is set to Internal, the program always
sends and receives via the standard MIDI In and Out ports of the Atari.
Therefore the Input and Output parameters can't be changed.

Cubeat

M*R()S Switcher

If ihc MIDI parameter is set to M R OS you select MIDI In and Outputs from
within the program itself. So again, the Input and Output parameters do not
apply.

But, if the MIDI parameter has been set to Standard for a Program, you can
decide where Input to the program should come from, and where Output
should go.

You always have the Atari option which, is the standard MIDI
connectors on the computer.

You also always have the possibility to send MIDI data via M*ROS.
Programs running under M-ROS can communicate, data can be sent
from one program to another and even between several computers
running M»ROS programs. This is one aspect of the networking
capabilities that sets M*ROS apart from other systems. The M*ROS
option here for Input and Output can be thought of as an invisible
MIDI cord running between all M*ROS programs in your system.

You may have more options depending on what "drivers" you have
installed with M*ROS on your disk. A driver is software for using
extra hardware with your computer, such as a Steinberg SMP-24,
MIDEX, MIDEX+, or a C-Lab Unitor. These hardware units have
extra MIDI In and Out connectors, and you can make the program
receive MIDI data from, and send to, these connectors.

Program Change

You can set a Program Change number to be sent out on a certain MIDI
Channel and Output (see above) each time you switch to a program. The
reason for this is that you might need to change your MIDI configuration
when you for example switch from one editor to another or when you switch
from a sequencer to an editor.

Cubcal

M*R()S Switcher

If you have a programmable MIDI mcrgc/lhru box, this might be able to
switch to the right configuration when it receives a certain Program Change
number on a certain MIDI Channel.

Use the left and right mouse button to change the Program Change MIDI
Channel and Output. If you set Channel to OFF, no Program Change
number is sent out.

Saving The Configuration

Once you have all the settings right, you can save these to disk. Pull down
the Options menu and select Save Configuration. A regular ST file box
appears.

You can only load a new Configuration when no other program than the
Switcher is running. Pull down the Options menu and select Load Configu¬
ration.

If you save the configuration under the name SWITCHER.SET on the same
level (in the same folder or in no folder) as the Switcher program, it will be
automatically loaded when you start the Switcher.

Launching The First Program

There are two ways to do this:

• Click on the name of the program.

• Press the relevant Function key ([FI] to [FIO]).

The program starts and you automatically switch to this program. The name
fields for launched programs are inverted in the Switcher.

Cubcat

M*R()S Switcher

Launching Other Programs and
Switching Between Programs

• If you press [Control] and the left and right [Shift] keys on the
computer keyboard (three keys in all) at the same time, you return to
the Switcher. From here you can start the next program just as the
first. In some programs you must also press a fourth key (anyone) to
be able to get back to the Switcher.

• While being in one of the launched programs, you can launch another
program if you hold down [Control] and the left [Shift] key and press
the relevant Function key [FI] to [FIO].

• To switch between programs that arc already launched, just hold
down [Control] and the left [Shift] key and press the relevant
Function key [FI] to [FIO].

If there is not enough memory, the Switcher will inform you.

Either try to lower the memory assignment for that program, if possible.
Remember that all programs have a minimum memory requirement. Infor¬
mation about how much RAM a certain program needs is normally found in
its operation manual. Or, if that method doesn't work, quit one of the
programs that is running, to free up some memory.

The time it takes to switch between programs depends on how the program
handles memory and how much music or other MIDI data is sent out at the
moment.

Cubcal

M*K()S Swikhtr

Quitting

Quit each program as usual (when not using ihc Switcher). When you have
quilled all other programs, quit the Switcher program by selecting Quit from
its Options menu.

Single Application

This menu item has to be left un-lickcd if you want to be able to Launch

several Programs. But, if you lick it, the Switcher behaves differently:

• In Single Application Mode, only one program can be launched at a
time. After that program has started, the Switcher disappears, just
like the Desktop does when you start a program as usual, without the
Switcher.

• All the sellings made in the Configuration dialog box is still valid for
that program. Tlie main use for this is to allow a program set to
Standard mode, to access any In- and Output on any Device you use,
and even be part of the M*ROS network, even though it is not an
M'ROS program. This is good if you for example run Cubcat with
one or more devices on a 1040, and wish to use a non M-ROS editor
without reconnecting your instruments.

• When you Quit the program, the Switcher comes back, so that you
can Quit that.

Cubcat

1VI*R()S Switcher

Cubcal

Sa tellite

Satellite

Cubeat

Satellite

INTRODUCTION

Many Musicians use Sequencers to compose, play and
record music and Sound Editor-Software to create, collect
and organize sounds. In the past you could only do one OR
the other. A link was missing between these applications.
SATELLITE has been developed to solve this problem.

SATELLITE is a Desk Accessory that you can access
while working with your sequencer program. It allows you

¥ to send banks of MIDI data (sounds, drum kits, etc...),

¥ to scan your banks to retrieve any sound for testing and
editing,

¥ to receive and save MIDI dumps, and much more...

While SATELLITE can work with any sequencer, its full
potential is revealed when used with Steinberg's Cubase
software. You can only edit sounds that use the Steinberg
SYNTHWORKS fomiat.

IMPORTANT:

You will find SATELLITE in the SATELLITE folder.
There are two ways to use it:

• If you want it to boot automatically from disk
everytime you switch on your computer, please take it
out of the folder.

• If you want to use it like a regular program and start it
from the Desktop, just change the file extension .ACC to
.PRO.

Cubeat

Sati'llile

QUICK OVERVIEW

The main page is divided into 3 parts:
DESK DflTEI INDEX EXTRfiS

1. The Macro Editor:

The Macro Editor is composed of 8 faders that control
important aspects of sound. This Macro Editor (Version
I.O) can be used to edit the following instruments: DX7,
TX7, DX7II, TX802, D50, ESQ 1/80, D10/20/110. MT32,
K1 and Ml.

2. The bank window:

This window is used to visualize the sounds contained in
the SYNTHWORKS banks.

3. The Command area:

Various buttons give you access to the different SATEL¬
LITE functions.

Cubeat

Satellite

Miscellaneous:

On ihc bar al ihc lop of ihc window you can see the name
of the currently selected instrument (eg "DX 7") as well as
an M'flOS button. It informs you whether M»ROS (the
MIDI REALTIME OPERATING SYSTEM) is active in
your computer or not (if not, the button is displayed in light
grey). SATELLITE works with and without M»ROS.
When M»ROSis active (for instance when you use Cu-
base), the networks' current lime position will be shown al
the lop of the window. You can then control M»ROS with
the numeric key pad as in any other M*ROS program; for
instance start the sequencer by pressing <ENTER>. (Please
refer to the Cubase documentation for more details).

To quit SATELLITE, click on the upper left corner of the
window, or simply press <Esc> on the Atari keyboard.

Cuheal

SaleWite

GUIDED TOUR

• SELKCTINC AN INSTRUMENT

Press the button SETUP.

=> The SATELLITE window displays a list of 50 defin¬
able instruments that SATELLITE can manage.

Click on one of the names.

=> A dialog box shows up; you can:

•..name the instrument (any name, not necessarily a synth
name),

•..define an input and an output for this instrument. If you
own a Steinberg SMP-24 Synchronizer and M»ROS 'is
active you can use the SMP-24 MIDI ports. If not, please
use the Atari MIDI ports.

•..define a MIDI Channel for the instrument (the sounds and
banks will be sent on this channel).

Cuheat

Satellite

• assign a SYNTHWORKS Idcnlificalion. For instance if
you own a DX7II and use SYNTHWORKS DX/TX, please
select the button DX7I1. If you use a synth tliat is not
covered by the SYNTHWORKS Editor series, please select
"FREE SYS-EX".

'..set the selected instrument as default instrument: Select
the button "D" (for "Default") in the upper left comer of the
dialog box and this instrument will be selected every first
time you call SATELLITE.

•..save the setup: the setup for the 50 instruments will be
saved.

Click on Confirm.

=> The Main page is redrawn and you can load SYNTH¬
WORKS banks that correspond to your instrument.

Y LOADING A HANK
Press the button BANK
=> A menu shows up.

Select the option LOAD BANK
=> A fileselector appears.

Select a SYNTHWORKS bank

=> The bank is loaded into SATELLITE'S internal memory
and the sound names appear in the window. You can scroll
through the sounds...

Cubeat

Satellite

¥ PLAYING WITH SOUNDS
Click on a sound name

=> The sound is sent to your synlh and you can use it at
once. This is particularly useful when Cubeat is running at
the same time. If you use a sequencer other than Cubeat,
you should stop it when selecting a sound otherwise it
could cause MIDI interaction problems. You will not have
this kind of trouble with Cubeat as it runs under M*ROS.
Every time you click on a sound, the corresponding Pro¬
gram Change is displayed in the button "=> Prg Chg XXX".

Please note: When you use SYNTHWORKS sounds, the
sound data itself is sent to your synth. But you can also use
this function to record Program Changes on your sequencer.
If the selected instrument is of type "FREE SYS-EX",
Program change numbers instead of sound names will be
displayed. Clicking on an item will send a Program Change.
Send the bank to your instrument first, and then select the
sounds via Program Change.

Cubeat

Sat e llite

Move one of the Macro Editor faders.

=> The sound is modified and you can hear the results at
once. Unlike a SYNTHWORKS program where the
changes arc immediately audible, the sound is modified
only when you release the mouse button. Press the RE¬
STORE button if you want to recover the original sound.
Press the button UPDATE to store the new modified sound
in SATELLITE’S internal bank memory (in the bank file)
and also possibly in your synth (this option is available for
thcDlO/20/110, K1 and Ml).

DESK DflTEI INDEX EXTRAS

■ V - •- , it:-

Cubeat

USING SATFXLITE

BANK MENU

• The option SEND has the effect of sending the internal
bank to your instrument. If no bank is in memory, you can
select a bank from the fileselector box.

• The READ COMMENT option displays comments
attached to a bank. It is available for the SYNTHWORKS
banks of D10/20/110/MT32,Kl and Ml.

• Some instruments can send additional data besides their
sound banks. The M1 for instance can send GLOBAL
PARAMETERS, the DIO can send a DRUM KIT, etc...

The menu will display the fdes that are available for the
selected instrument. Please note that the file is simply sent
to the instrument. Nothing is displayed in the window.
Sending such a file will erase any bank previously loaded in
SATELLITE.

• BUFFER SIZE

The smaller a Desk Accessory, the better. You can redefine
the size of the buffer SATELLITE is using, but this is
dependant on the instrument you use. Clicking on the menu
option will display 3 choices (the current size is surrounded
darker).

10 K: Sufficient if you use DX/TX banks, K1 banks, ESQl/
80 banks.

36 K: Sufficient if you use DX/LX libraries, D10/110, D50
and Ml sound banks.

53 K: Necessary if you want to send complete Ml files
(".ALL") The selected buffer size will be installed when
you load SATELLITE next time.

Cubeat

Satellite

SATELLITE l.B

UTILITY

DESK DATE! INDEX EXTRAS

MACRO EDITOR

STEIHBER

OPTIONS

B. DAVIS

Belcanto

Choir

CHOIR

CHOR

CHOR 4 A
C0SH0V0IC2
D.B--HAHH
DIGCHOR A
EXP VOX I
F. VOICE 1
F. VOICE 2
F. VOICE 3
FEH. CHOIR
FEHVOICES
LadgVox

UTILITYJ

— CUPtt pipeline --

Copy und to Track
Join Configuration
Pass Drun Kit
Midi Controller
-- COHPIGURfiTIOH --
Total Recall
Edit

— UNIVERSAL... --
Dunp Utility

-- SAVE SOUND AS... -
Midi File
Sys-Ex File
Pro 24 Pattern

ATTACK C RELEASE C K M RELEASE M

CC» STCXNRERa

Cubase PIPELINE

A major advantage of M*ROS is its network capabilities.
These arc the choices:

• Copy Sound to Track.

Select a sound in the SATELLITE window, then select
this option from the menu UTILITY. The sound will now
be recorded on the current Cubeat track. Each time you
play back the sequence, the real sound data, not just a
Program Change, is sent to your instruments). Using this
function you become independant from (maybe) limited
sound memory in your instrument.

• Join Configuration.

A configuration file (sec dedicated chapter) can be joined to
the current Cubeatsong. When you load the Cubeat song,
you will be requested whether you want to send the con¬
figuration as well. A single confirmation will do to send up
to 50 banks to all your synths!

Cubeat

Salellite

• Pass Drum Kit.

You can select a DlO/20/110/MT32 drum kit (file ’’.KIT")
or a M1 drum kit (file ’’.GLO") to send drum names and
MIDI notes directly into the Cubeat Drum Editor. You can
use the capabilities of SYNTHWORKS to edit your drum
kits and then send the drum map to Cubeat This function is
only active if M1 or D10'/20/110/MT32 are selected in the
setup.

Roland drum kits have preset instruments and user instru¬
ments. If a drum kit contains user instruments, then be sure
to load the corresponding sound bank into SATELLITE
(as the instrument names will be extracted from the bank).

• MIDI Controller.

This option can be used without Cubeat A small window
displays a fader with a value range from 0 to 127. Its
purpose is to generate any kind of MIDI Conirol Change
data. Up to 32 Control Change presets can be defined. Click
on the "FUNCTION" button and a new dialog box ap¬
pears...

• You can input a Control Change number

• You can input a name for that control

• You can define a MIDI channel for that controller. If you
input 0 as MIDI channel, then the MIDI channel as defined
in the setup for the current instrument will be used. The
possibility to define fixed MIDI channels is for use with
instruments such as the DIO. As a matter of fact 8 control¬
lers on 8 different MIDI channels can be used to control the
volume of the 8 multi timbral parts in the instrument (same
as for panning).

• Clicking on the "SAVE" button saves the 32 controller
settings, as well as the current value of each controller.

Cubeat

Satellite

You can send the MIDI data to the MIDI output or to
CubcatWhen you select the second option Cubeat should
be in record mode (recording from M»ROS).

CONFIGURATION

Select "Edit" in the menu UTILITY. A CONFIGURATION
BOX appears.

Use the cursor to scroll through the 50 possible instruments
of the setup. You can assign a MIDI data file to each
instrument (generally a sound bank) as well as a Program
Change number. Simply click on the white horizontal field
and select a file in the appearing fileselector box. You can
save this configuration file or to load an one for modifica¬
tion.

Any file that can be sent from the main page or dump utility
can be selected here. If you want to send 2 files to a same
instrument, define it twice in the setup.

The option TOTAL RECALL lets you select and run a
predefined configuration. When selected, it loads the
configuration into SATELLITE and analyses it. Each file
of the configuration is loaded and sent to the synth on the
MIDI Output/Channel defined for this instrument. A
Program Change (if defined) is sent to select the right
memory. When a file cannot be found on disk, or if the file
docs not match the right instrument (for instance a DX7 file
selected for a D50), a Warning is displayed.

Cubeat

Satellite

TOTAL RECALL is useful especially for users owning a
hard-disk.

DX7,TX7,DX7II,TX802,K1,M1,ESQ1/80,D110 can
receive a dump automatically but the Roland DlO/20 and
D50 need to be set ready to receive it (see SYNTHWORKS
manuals).

Files saved from the dump utility can be selected if the
instrument is set "FREE SYS-EX" in the setup. Even files
that don't come from the SATELLITE dump utility can be
selected, provided they contain pure system exclusive data.

Cubeat

Satellite

DUMP UTILITY

TRANSMIT

RECEIVE

SEND REQUEST

Channel Pos

Request; Ml Conbis

SAVE SETTINGS

liHlvSTmTuMP

■•Tr y~ r<«v^>-vV>’orV 9--3^

. ■ ■ i

This dump utility enables you to receive and save almost
any synth memory. When you arc ready to send the bank
from the synth, simply select mode "WAIT FOR DUMP"
and press the button "RECEIVE". When the dump is
received, click the right mouse button. A file selector box
appears and you can save the dump (file extension
".BNK"). It is possible to send several banks one after
another and thus create some 'bundle' (depending on the
size of the buffer). You can also define a dump request.
Type the dump request code for your synth into the field
reserved for it (refer to your synths' system exclusive
manual). 32 requests can be defined, saved and named. Just
use the arrows to scroll through the requests. Some ex¬
amples come with SATELLITE. If the button "SEND
REQUEST" is selected (while letters on black background),
and you click on "RECEIVE" the MIDI request is sent and
SATELLITE collects any incoming dump until you click
again.

Receiving a dump is easy with a program running under
M^ROS. It might (not necessarily must) cause problems if
you use a non-M»ROS sequencer. There could be an
incompatibility due to the MIDI input port management. If
this is the case, please operate from the Desktop or from
any Non MIDI program. On the reverse operation (Sending
banks) no loss of data can happen as long as the sequencer
is stopped.

Cubeat

Satellile

The field "Channel Pos." indicates where the MIDI channel
information is positioned within a bulk. For almost every
synth this should be set to 3 (the d'ird byte of most bulks is
the MIDI channel). When SATELLITE saves a file, it also
saves this information. In ease you want to send the bank
on an other MIDI channel, SAITXLITE is able to manage
that. This information is also used when you do a "TOTAL
RECALL". If you don't want such an automated rechanneli¬
zation, then simply erase the field or write 0 BEFORE you
receive and save a dump.

SAVE SOUND FILES

When a sound is selected in the window, you can save the
corresponding system exclusive MIDI data in 3 different
forms:

• MIDI FILE.

This is provided for universal compatibility.

• SYSTEM EXCLUSIVE FILE.

Some sequencers directly accept this format. Besides that
you could use these files to build up a configuration made
up of individual sounds instead of banks. The use of that is
that the dumps arc very quick when you do a Total recall
and (in the ease you use a D10/20/50) you don't need to
configure your synth to receive data first.

• PRO-24 pattern.

The pattern only contains system exclusive data and can be
inserted anywhere you like on a PRO-24 track.

Cubeat

Satellite

MACRO EDITOR

These faders do not only control 1 parameter but up to 8
simultaneously to achieve a "Macro change". For example
used to edit a D50 sound the ATTACK fader will affect die
4 volume and 4 filter envelope attacks .

Generally the fader names speak for themselves, but let's
discuss a few examples:

• BRIGHTNESS often affects a filter setting.

• FATNESS detunes the different oscillators to produce
some kind of chorus.

• VELOCITY S changes the velocity sensitivity (volume
and also brightness sometimes).

• For the DX7, the faders ATTACK C and ATTACK M
stands for ATTACK CARRIER and ATTACK MODULA¬
TOR. The voice algorhythm is taken in account and
SATELLITE changes the envelopes according to this
information. Changing the Carrier operators will affect the
volume while editing the Modulators will change the
evolution of the timbre.

Cubeal

Satellite

INSTRUMENT
PARTICULAR CASES

YAMAHA DX/TX7

• There are several types of DX/TX synthworks sound files.
When selecting a sound, the voice parameters are always
sent; additional parameters only if the receiving instrument
accepts them (ic DX7II additional parameters will not be
sent to a TX7). In the bank menu an option enables you to
load any category from a SYNTHWORKS DX/TX library.
When such a category is in memory, selecting a sound will
send the voice parameters only.

• When you select TX7 in the setup, a vertical row of 8
buttons will be displayed aside the bank window. This is
cspcscially designed for TX816 owners: pressing a button
changes the SATELLITE MIDI channel, allowing you to
quickly send a sound to another TFl module. If for instance
the MIDI channel defined in the setup is 2, then you can
switch to MIDI channels 2 to 9 thanks to these buttons.

ROLAND D10/20/110/MT32

• The MIDI channel in the setup corresponds to the Roland
"Unit number". It should be 1 in most cases. Note: You
should not rcchannclizc a dump if you arc not familiar with
Roland's "Unit number"-conccpt, as it otherwise your synth
might ignore these dumps.

• For the D10/20/110: two buttons on the front page let you
switch between PATCHES and TONES. Only the TONES
(ic the real sounds can be Macro edited).

• The vertical row of 8 buttons lets you select the synth part
you want to edit. Any sound selected is sent to that part. If
you have a multi channel sequence running at the same
time, this can be very handy.

Cubeat

Satellite

TIPS & TRICKS

SKTUP

• When Uic window displays ihc instrument names, clicking
on an item with the RIGHT mouse button will select this
instrument directly, without displaying any dialog box.

• You can define several instruments for the same type of
syntli. For instance you can define 8 instruments for a
TX816, each one differing from the other only by its MIDI
channel.

• In this version 1.0 of SATKLLITK, although they can be
defined for each instrument, no MIDI input port is used for
sound and bank transfers (but for the dump utility).

• The program SATELLIT.ACC can be renamed
SATELLIT.PRG. It can then be run from the Desktop same
as any other program.

Note: When using M*ROS, be sure to have the version
14th of march 1989 or newer.

Cubeat

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